When I began working on these images, I had finished reading Mary Shelley's Frankenstein and was interested in the hybridization of the living with the non-living, and the reanimation of objects, facts and metaphor in the combination of fragments from conflicting sets of concepts. I combined fragments of natural forms with machine parts and electrical connections as a visual dialogue concerning the way the industrial revolution had reanimated, and in fact, hybridized concepts about the natural world. The three dimensional specimen objects created for the camera and photographed according to the conventions of scientific studio photography were a means to explore the way that fact is decontextualized, fragmented and recombined to create an informational subset of fiction that can appear as fact within the scientific mode of representation.