Commissioned for our Conspiracy Week in February, artist Joey Holder takes a particular scene from the 1975 film Jaws to look at the ways in which manipulated images are appropriated and circulated by Internet culture as ‘fact’.

The scene, which shows a shooting star flaring behind hero Roy Schneider, has become fodder for conspiracy theories. The ease of ‘adapting’ and then distributing images – such as deserts, outer space and oceans – offers a rich breeding ground for the fictional and make believe. Taking its name from a scientific classification for sharks, this project morphs between factual and fictional images, symbols and memes; exposing the continually shifting belief systems we use to define our world.

Joey Holder lives and works in London and Nottingham, UK. Holder’s artistic practice and research raises philosophical questions of our universe and things yet unknown, regarding the future of science, medicine, biology and human-machine interactions. Working with scientific and technical experts she makes immersive, multi-media installations that explore the limits of the human and how we experience non-human, natural and technological forms. Mixing elements of biology, nanotechnology and natural history against computer programme interfaces, screen savers and measuring devices, she suggests the impermanence and inter-changeability of these apparently contrasting and oppositional worlds: ‘everything is a mutant and a hybrid’. Recent exhibitions include ‘Ophiux’, Wysing Arts Centre, Cambridge (2016), ‘TETRAGRAMMATON’, LD50, London (duo w/ John Russell) (2016), ‘Lament of Ur’, Karst, Plymouth (duo w/ Viktor Timofeev) (2015); ‘BioStat.’, Project Native Informant, London (2015) and ‘HYDROZOAN’, The Royal Standard, Liverpool (2014).