Produced with the full co-operation of the Hitchcock Estate, Curran first edited select frames from a rare original Technicolor dye imbibition print of Vertigo from 1958, and then printed them using the same dye transfer process by which the movie was made. Editing 20 still images from the hundreds of thousands of frames that make up the film, Curran switches from moving pictures to still prints to create a medium-jumping work in its own right.

Jean Curran is one of a handful of dye-transfer printers working in the world today, and the only artist to be using dye-transfer printing as the basis for her contemporary practice. Curran is interested in the re- contextualisation of early colour films and of re-presenting them as still frame photographic images. Her previous series 'The Vertigo Project', a series of 20 dye-transfer prints taken from the original reel of Alfred Hitchcock's Vertigo (1958), has been exhibited internationally. The process by which Jean Curran makes her prints is deeply laborious and the time, technical knowledge, and attention that she bestows on each colour print, is similar to a painter or sculptor's practice. Curran’s transformation of movie frames gives us a chance to think about cinema and photography, their technological transitions and the myriad interconnections between film, cinema history, and painting.