This installation was first made for an outdoor sculpture show, Ha-Ha curated by Iwona Blaswick, which was in the grounds of Killerton House near Exeter in 1993.

The work was based on the fictional lives of mannequins that formed part of the museum at Killerton House; a hilarious reality implied by way of their brochure descriptions. (The artist in advance of the first site visit had requested Literature about the house and contents).

The missing notices and wax body parts referred to the Bride as featured in the previous years brochure. Now missing, she had been replaced with a new display. The Bride had indeed been stripped bare. A sculpture trail, a murder hunt; they suddenly became one and the same - very ‘British’, a tongue-in-cheek parallel.

However the plot thickened as the cast (very life-like) wax body parts were deemed unsuitable for the public sculpture trail and so became part of a more complicated work that developed because of and about their 'unsuitability' and issues of realism in art that were raised as a result. Had they been more badly made, abstract, less convincing would they have been allowed to stay?

The earthed up body parts became the Incident Room at Spacex gallery which was close by in Exeter city. They were shown in a heap of soil surrounded by photographic lights and behind a wall of glass. In an adjoining room was a chair and table upon which there was a newspaper. This was a self-written, fictional report, inserted into the day's local newspaper (Express and Echo, Friday June 18th 1993). The whole thing went full circle – the reported dramas of the real page opposite becoming absorbed into the work. The person who had objected to the works outdoor inclusion felt the artist must have been happy with the move to the gallery since “she had landed herself with a full page write up”.

The work was reconstructed as part of the show, Gothic curated by Christophe Grunenberg, ICA Boston in 1997.

The body parts are casts of Sam Taylor-Wood (now Johnson).