Through the Simulacra series, I began investigating Jean Baudrillard’s theory of Simulacra and Simulation in the world we live. His idea that we all seek to produce meaning, to make the world signify, to render it visible: ‘we are not, however, in danger of lacking meaning; quite the contrary, we are gorged with meaning, and it is killing us’. In a series of large formats tableaux, Simulacra are an imitation of life, dark in tone, cinematic, and the mise en scène ambivalent: closer inspection reveals discordant details, creating a question that calls for a new narrative. Associated to the images are large blocks of clear epoxy encasing various objects. The staged photographs and epoxy encased objects are linked, telling a story from different angles. Each seems to question the