On paper it may seem that the organic sculptural works of taxidermist Polly Morgan are the antithesis of multidisciplinary artist Robert Cooper, whose digital and performance work lives within the internet, mediated through technology. Although Cooper’s interest in the synthetic and mass- produced does counterpoint Morgan’s focus in ‘cannibalistic, predatory and unnerving’ Animalia, both artists’ aesthetic is grounded in the manipulation of bodies.

Whilst Morgan’s craft sees her skinning and manipulating the cadavers of animals to create physical sculpture, Cooper (usually) uses his own body, as transferred through computer to screen and disseminated through Instagram, which is also how the two artists met and began collaborating.