All Consuming Paris interrogates value and consumption at Paris Foto- the annual riot of photography that takes place just a molotov cocktail's throw from the River Seine. The series takes its cues from Cartier Bresson, Draschan, Struth and the humour of Elliott Erwitt. Daschan's Beret and Peacock, nod toward Draschan's 'People Matching Artwork', while in Coreen, as in Cartier-Bresson's portraits of Modigliani, the gaze shifts from the art to the artist. In this case, to the famous American photographer, Coreen Simpson, whose work documented early hip hop culture in New York. In 99, and Liquor Store, echoing Struth, it is the art, not the viewer or the artist, that is the main attraction. The inclusion of Martin Parr's ice cream with flake from Think of England embeds consumption at another level; not only the consumption of photography, but consumption within photography. Much of the focus is on the viewers and purveyors of art and their shifting relationship with the array of work on show. In Intense and Robin Hood Parts One and Two, the viewers, captivated by aesthetic curiosity, lean in so as not to miss a trick. Elsewhere the accent is more pecuniary, as in Decision Time and especially Price Lists where buyers scan thumbnails in search of their next purchase. There are other relationships too: between a father and daughter, between friends and colleagues, between gallery owners and clients and, inevitably, between people and their devices. Together these scenes form a portrait of Paris Foto as both gallery and marketplace, where aesthetic and financial value collide in constant, uneasy tension.