Artist Ann Shelton’s new series Room Room consistently uses the circular pictorial format, which can be linked by association to an aperture, convex mirror, fisheye, keyhole, peephole, porthole, or vignette. Shelton thus incorporates a willful distortion that calls attention to the image as a concerted representation. In recent years, Shelton has created images that she subsequently installed in the manner of a diptych, thereby allowing the photographs to play with notions of doubling and reflection. In her use of this technique of display, available vantage points become manifold and the reversed images reiterate how artificial [and artful] any specific grouping of images is bound to be. Shelton does not attempt to create a portrait of naturalised vision, but instead — and more intriguingly — builds her works as strategic, layered constructions.