Daniel Gordon's vibrant assemblages push the still-life genre and photography as we know it

If Daniel Gordon’s current work in the Saatchi Gallery’s exhibition, Out of Focus is anything to go by, we’re supposed to consider these works as photographs and for all intents and purposes they are. But the incredibly involved montage of images within the frame, the unrecognisable surfaces – sometimes with a glitchy trace of their online origins that clashes wonderfully with the sharp relief of a real object – coupled with the use of lighting and props and composition, means they’re more like sculpture, or at the least, 3D collage.

Though predominantly portrait, it’s his occasional still life or flower arrangements that takes the meta-biscuit. They’re less ambiguous and aesthetically more graphic than the head shots; their assemblages show the uncanny flatness of their parts as they are crafted to resemble something a little more literal (but still totally wild) and vibrantly beautiful.