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註釋"In 'The Friar's Doodle' (2010), Dean has used a rostrum camera so that the film is comprised of pans, as opposed to the static shots which were formerly a hallmark of her work. Cut on the movement, this material has been edited to follow closely the drawing's intricate meandering profiles. At no point does the camera pull back to reveal the elaborate composition in its totality. Seen cumulatively, as it were - in fragments, over time - the surrealistic composition can be known fully only in the mind's eye. Dean's refractory manner of revealing the original image serves, metaphorically, to underline the protracted processes of discovery required to decipher the bigger picture inscribed in Silos's fabric. For the carved and etched subjects in the photographic inventory which Dean shot during her second visit to Silos offer a sometimes indecipherable, often fractured record that undermines any presumption that history might be singular, solid and sealed. This archive becomes a visual analogue of day dreams, musings and flights of fantasy that, while fixed in the past, is nonetheless familiar and accessible: kin to our own everyday, speculative forays that drift outside time, with no discernible endings. While "The Friar's Doodle" similarly attests to the persistence of intuitive impulses that drive us to position ourselves within the lexical discourses of history, it also invites reflection on the interpretative mechanisms we deploy to decode their graphic residues"--Gallery website.