In Famous Fences, Samuel Connor draws reference from a recent trip to Los Angeles;
"According to my guidebook, one of the must-do’s of Los Angeles is the famous Starline Tours. In true tourist form, I waited my turn in the queue at the ticket booth with a multitude of celebrity hunters from across the globe. Whilst on the tour I was astonished at the lengths people would go simply to capture the perfect shot of Ozzie Osborne’s gate or David and Victoria Beckham's rooftop. I tried to take as many digital snapshots as possible of anything (supposedly) related to the world of celebrity on this tour however the entire authenticity of the celebrity ownership of the fences is open to scrutiny. The viewer is tricked into believing that each fence is that of a celebrity, but at what stage will the viewer step back and ask themselves if these fences do actually belong to the celebrity and, furthermore, why should they even care? "
Jean Baudrillard points out that in our postmodern culture we have lost the ability to distinguish between the reality and the simulacrum. One phenomenon Baudrillard attributes to this is our media culture. Not only do our contemporary media relay information and stories, but they interpret this for us. Our acquisition of goods is not due to a real need but rather to fulfil a desire defined by advertising. Becoming distanced from a physical, non-media reality, we are closer to a media-orientated cultural space (Baudrillard 1994). It is this commercialisation that has rooted a longing for fame and an obsession with celebrity, we even witness a power struggle within their fences. The tourist style snapshots are accompanied by a series of drawings based on some of the famous fences and dealing with issues above and beyond the celebrity also.