Jeanne Dunning has always been good at making the familiar look strange. It was pictures of hairstyles that first drew me to her work but it was body and food pictures that I first saw in a gallery. In real life the prints were seductive and the images intriguingly strange. In part the defamiliarisation of the body in Hand Hole is down to the way the picture is composed, but it’s also about the scale of the image. Though Dunning’s prints are often modest in size, in images like Hand Hole there is still a shift from the human scale. Add to this the ambiguity of the image when seen along side similarly strange pictures of food.