Since the beginning of 2016 I have been documenting and exploring the global phenomenon of self-surveillance through my artwork 'Backdoored', which collects and archives images taken by searchbots through unsecured security cameras. As well as the sociological impact of the proliferation of IoT data-harvesting sensors, I'm very interested in this phenomenon of self-surveillance: as we are increasingly watched and quantified by the state and corporate world, we also seem to have internalised this activity, constantly engaged in digitally-mediated watching of our possessions, homes, family, employees and pets. In this way, 'Backdoored' forms a kind of social document: a global mapping of contemporary anxieties. This is an unique set of images whose ‘content’ resides as much in the process of their creation as in what they display. The core artwork can be thought of as a collaborative intertwining of 3 core components: - the collector software system itself - the thousands of images and metadata which it has collected - a 2 year performative process by the artist of intense engagement with, and processing of this data set This core artwork acts as an engine for the generation of new installations which can manifest some of its outcomes (see supporting material). The installations shown were designed to actively locate the viewer within the role of watcher. The viewer is invited to face their own voyeuristic impulses, experience the queasy tension between shock and fascination that the images evoke, and consider their own complicity in the surveillance machine.