2010
“Shelton also uses methods from Conceptual art to emphasise photography as a mutable being and one that relates to the viewer’s body. She creates varied viewing relationships that modify a work’s meaning. Works in series are reformed as grids or lines or sequences in galleries, published differently again in books (an important forum for the artist that allows the incorporation of research material) and online, seen as page works or mobilised in civic space. For example, the lost girls, 2010 series, images of sites that are the last sightings of missing girls, were shown as temporary billboards in 2011. These display modes intentionally destabilise relationships within an already unsettled ontology.”
— Zara Stanhope, Dark Matter Auckland Art Gallery, Toi o Tāmaki, p190.
