Night of the Hunter
work by Hilary Irons and Adam Eddy
Both predator and prey have a tendency to develop camouflage that is adapted to their environs. Their very bodies become abstracted reflections; skintight maps of where they live, eat, sleep. Remove the creature from its native land and the once harmonious patterns become garish; clashing with new and unfamiliar patterns. An advantage dissolved into liability, the decorated surface advertises the vulnerable status of an outsider.
The works by Hilary Irons and Adam Eddy share elements of landscape and the markings of beasts and humankind; the titular hunter could be either. Are we hiding from an ominous gaze or afflicted with pareidolia, conjuring patterns and imagining threats where none exist?