The collection · DiffusionLab

An embossed man in a wide brimmed hat with a plume, the year the horn line grew, duotone portrait in gold and black, scanned sleeve with ink texture. Work 8920.

Flat screenprinted portrait in loud inks of a bus conductor's face in flat brown and a barber's face in two clashing inks, a sitting nobody was paid for, a fingerprint set into the pink. Work 8910.

High Victorian, a newsprint-tan medic bandaging a forearm after a preparation in the museum, the French atlas manner with soft tints. Work 8875.

An accountant's head in flat slate over a sheet taped at four corners, the second sitting, screenprint head over a halftone photo, guillotine cut through the chin. Work 8825.

X-ray plate of an excavated headcloth wound twice and tucked, the Little Ice Age, glass plate negative on thin glass. Work 8802.

A renaissance portrait of a bulldog as a duke, oil on canvas, heavy drapery. Work 8791.

A lamp shade of leaded green glass mended with a lead through the face, the 17th century, streaky glass used as a painted sky, flashed ruby on a white body. Work 8763.

Carte de visite portrait of a hand-tapped jelly wobbling on a silver plate beside a scale of leagues and one of miles in the year the works opened. Work 8674.

A tar-caulked photo booth sign gone cyan beside a bachelor uncle, a month that fell outside the year, fairground cut out portrait. Work 8656.

A renaissance portrait of a tortoise as an astronomer, candlelight. Work 8636.

A renaissance portrait of a stag as a general, oil on panel, armour. Work 8572.

A specimen sheet of faces and sizes at a linecaster keyboard, line block with a fine rule, flash powder interior negative, gold toned print with pale shadows. Work 8571.

A renaissance portrait of a pelican as a physician, dark ground, instruments. Work 8567.

A renaissance portrait of a swan as a bride, oil on canvas, pearls. Work 8545.

A wide-collared sign writer's face in chrome yellow with the shadows collapsed into black, the week the pink ink arrived, portrait reduced to four tonal steps. Work 8490.

A footballer's head in four flat inks, the last print of the series, commercial portrait flattened to stencils, poster print pasted and peeling. Work 8395.

A tape-fed breath sensor clipped to a collar in a room with two chairs and one lamp, the age when every face had a number, sterile symmetry composition. Work 8344.

A crest-high long shadow of a rider at dusk, forty days out from the last market, large format view with a thin file in it, charcoal and chalk on toned paper. Work 8011.

A bobbin-laden camera pointed at its own monitor against undyed linen gone honey, the Iron Curtain years, the hall let them have it for nothing, listed building consent photograph. Work 7998.

The last printing used a worn plate: a philatelist in the spring of 1933, production illustration in muted ochre, open flash in a dark room. Work 7985.

Reproduction with the paper grain in it of a halftone face on an insert gone to mud posted for three dollars and a letter, the last dub off the master. Work 7953.

A butcher's head in flat pink printed again in a worse pair of inks, a run of six heads in six inks, portrait print with an overprinted edge, guillotine cut through the chin. Work 7948.

Blunt high contrast portrait copy of a rum-warmed pineapple crowned with leaves, the Blitz, corner worn round in a pocket. Work 7942.

A hessian scarecrow with straw cuffs with glue gone shiny at the neck, 1851, late impression from a worn plate, dust and hair from a projector gate. Work 7941.

Half past eleven on a school night: a cobbled last frame of a roll, darkroom print dodged nowhere at all, carte de visite studio portrait. Work 7928.

A grey band along a photocopied edge and a stencil cut from thin cardboard, flattened halftone of a halftone, cut and pasted then shot on the glass. Work 7774.

A moustached crowd of eight faces in one colourway, the week the pink ink arrived, print pinned through four corners. Work 7721.

The reef was never found again: a cartouche wreathed in sea creatures in 1830, tints laid from a separate stone, sheet with a tear repaired by tissue. Work 7662.

A proof pulled before lunch: an impassive clown's head in three clashing inks, portrait with the skin left bare paper, stone lithography with a chalk tint. Work 7599.

A figure with a headpiece like a closed bud against a velvet ground that eats the light, square frame with the figure dead centre, dye transfer print with a wet gloss, grain visible only in the black. Work 7406.