Charlie Adamson-Hammond’s work includes videos, ceramics and print, and revolves around everyday consumption and domestic life. The work frequently makes use of the photocopier to distort photographs, stock images, adverts and other found objects.

The films and books contain the distorted photocopied images, and scenes from domestic activities: the viscous gloop of washing-up liquid falling onto the camera lens, close-ups of jam, the cooking of an egg in an unfired clay bowl, the contents of the fridge, the landscape on the way to the supermarket. These images are accompanied by narration or text. These can stand alone or form installations.

Food is the most obvious form of consumption which takes place on a daily basis, and this has become the focus of much of the work: the representation of food in advertising and the routines of cooking and eating within the home. The work expands to cover other consumables such as television, and products used in the practices of running a household.

Other peripheral themes include the sea, the femininity, eggs, fertility, and the encounters with creatures such as fish in tanks in waiting rooms, bugs on the road or lobsters in the fish shop.