Untitled 1995/96 is an example of the type of work Bill Henson refers to as a ‘cut-screen’: a collage-like construction combining pinned and taped fragments of photographs as well as the reverse side of photographic paper on large plywood screens. Like many of his works from this period, this image imparts an elegiac and dreamlike quality that results in part from the interplay of darkness and light. The work’s disrupted pictorial space allows a partial glimpse of a naked figure, seen within a nocturnal landscape. In 1995 Henson exhibited a selection of cut‑screen works, including this one, when he represented Australia at the Venice Biennale.