There is perhaps a bit of taboo on display here with how Frampton showcases the remains of the human body. The chaos of the connective bits between the more disturbing reminders of death feels like tissue, cells built upon one another. The “Gates of Death”, as it were, is the lens of the camera itself, granting access to the image of such without the in-person horror of such

There is perhaps a bit of taboo on display here with how Frampton showcases the remains of the human body. The chaos of the connective bits between the more disturbing reminders of death feels like tissue, cells built upon one another. The “Gates of Death”, as it were, is the lens of the camera itself, granting access to the image of such without the in-person horror of such