Polly Morgan dissects social media through snake skins and acrylic nails
At The Bomb Factory, the British taxidermy artist is dismembering the ‘veneer’ of social media and the suffocation of lockdown in a new series of photographs and intricate snake sculptures

Polly Morgan’s affinity with taxidermy began in her 20s. She was looking to furnish her London flat and wanted it to look ‘dead rather than alive’. Unable to find what she was looking for, she took matters into her own hands, starting with a pigeon.
Since then, Morgan has developed a captivating and singular practice of skinning, stuffing, and turning conventional taxidermy on its head, drawn to its trompe l'oeil qualities over its macabre connotations.
In the early days, Morgan trawled pet shops, farms and big bird fairs to maintain her inventory, all of which had died of natural causes or experienced unpreventable deaths. Before long, she began turning art world heads with her distinctive, surrealist brand of taxidermy and has since built up a network of clients who supply a steady stream of creatures for her work. Among her most striking work is a pig carcass with mushrooms sprouting from its innards, and a brood of chicks rearing their heads from a telephone receiver.
Understand your Audience, 2020
For her latest show, ‘How to Behave at Home’ at The Bomb Factory, Morgan is looking inwards. The show’s title is taken from a chapter of the Victorian book, The Ladies’ Book of Etiquette and Manual of Politeness by Florence Hartley. ‘I began to see etiquette as being a metaphorical strait-jacket, [as much] now as then.’
Social media, the Covid-19 pandemic and our new overfamiliarity with home provide the backdrop for this series of abstract sculptures. ‘I was interested to see how people's Instagram feeds would change, with no parties to attend or events to promote; would they let the veneer slip or turn to a new kind of boastfulness?’ she asks.
To illustrate this, Morgan turned to ‘veneers’: superior surfaces concealing something supposedly inferior. ‘This chimed with a lot of the subjects I was thinking about; specifically how we curate our online lives by careful selection or filters,’ she reflects. ‘For years I had been peeling back the skins of animals and taxidermy seemed a good metaphor for artifice vs. truth.’
RELATED STORY
Every other Dance, 2018
The works see brutalist blocks, concrete slabs and polystyrene packaging create corset-like constructions from which highly-decorative snakes spill, contort and rupture from the cavities. ‘I use the snakes to represent excess flesh, a metaphor for untamed nature and the impossibility of absolute restraint,’ she explains.
I use the snakes to represent excess flesh, a metaphor for untamed nature and the impossibility of absolute restraint
The show marks a turning point for Morgan, with sculptures of ‘real’ taxidermy hides interspersed with meticulously painted casts of snakes, and the artist hopes viewers won’t spot the difference. ‘I was locked into thinking I must use the skin and it hadn't occurred to me that my work would be improved by painting directly onto a cast, thus creating my own veneers,’ she says. ‘This way I would no longer be limited to the skins of the actual snakes I had been donated, nor would I have to sacrifice the lustre of a fresh snake skin.’
MSQRD, 2020
Morgan spent the best part of a year toying with paints, varnishes and transfers and foils used in nail art. After an ‘uncharacteristic’ trip to get her nails done, she requested an iridescent finish so she could watch and learn from their techniques. For the show, she worked with a nail artist to develop trompe l'oeil marbles, woods and chip foam from gel coats. On the gallery walls are a series of large format photographs titled after Instagram filters. Here, hands with glitzy acrylic talons peel back snake skins in compositions that are enough to leave viewers in a captivated grimace.
Morgan’s show is an oblique commentary on a rapidly evolving society, where richly-lustred ‘veneers’ are stand-ins for veiled bids at digital authenticity. The austere structures that envelop them are both the ever-changing digital standards that suffocate us, and the cocoons that protect us. ‘How to Behave at Home’ is both an instruction and a question.
Try Wearing those Colours Too, 2020
Crop of Understand your Audience, 2020
Produce Valuable Content, 2020
Every other Dance, 2018
Trace your Route, 2020
INFORMATION
’How to Behave at Home’, 14 October - 2 November, The Bomb Factory Art Foundation. bombfactory.org.uk; pollymorgan.co.uk
Receive our daily digest of inspiration, escapism and design stories from around the world direct to your inbox.
ADDRESS
9-15 Elthorne Rd
London N19 4AJ
Harriet Lloyd-Smith was the Arts Editor of Wallpaper*, responsible for the art pages across digital and print, including profiles, exhibition reviews, and contemporary art collaborations. She started at Wallpaper* in 2017 and has written for leading contemporary art publications, auction houses and arts charities, and lectured on review writing and art journalism. When she’s not writing about art, she’s making her own.
-
Aesop’s Queer Library bookmarks brilliant literature, no purchase required
Returning to London’s Soho, 3-6 July 2025, the Queer Library pop-up offers complimentary books by LGBTQIA+ authors and allies
-
Wangechi Mutu's powerful sculptures take over the palatial interiors of Rome's Galleria Borghese
The Kenyan-born artist is the first living woman to have a solo exhibition at the villa
-
Il Sereno’s new Listening Suite is what phonophiles’ dreams are made of
Designed by Patricia Urquiola and Il Sereno founder and audiophile Luis Contreras, the new Lake Como-facing suite unites Japanese listening culture with Italian design
-
Leila Bartell’s cloudscapes are breezily distorted, a response to an evermore digital world
‘Memory Fields’ is the London-based artist’s solo exhibition at Tristan Hoare Gallery (until 25 July 2025)
-
A bespoke 40m mixed-media dragon is the centrepiece of Glastonbury’s new chill-out area
New for 2025 is Dragon's Tail – a space to offer some calm within Glastonbury’s late-night area with artwork by Edgar Phillips at its heart
-
Emerging artist Kasia Wozniak’s traditional photography techniques make for ethereal images
Wozniak’s photographs, taken with a 19th-century Gandolfi camera, are currently on show at Incubator, London
-
Vincent Van Gogh and Anselm Kiefer are in rich and intimate dialogue at the Royal Academy of Arts
German artist Anselm Kiefer has paid tribute to Van Gogh throughout his career. When their work is viewed together, a rich relationship is revealed
-
Alice Adams, Louise Bourgeois, and Eva Hesse delve into art’s ‘uckiness’ at The Courtauld
New exhibition ‘Abstract Erotic’ (until 14 September 2025) sees artists experiment with the grotesque
-
What is recycling good for, asks Mika Rottenberg at Hauser & Wirth Menorca
US-based artist Mika Rottenberg rethinks the possibilities of rubbish in a colourful exhibition, spanning films, drawings and eerily anthropomorphic lamps
-
Get lost in Megan Rooney’s abstract, emotional paintings
The artist finds worlds in yellow and blue at Thaddaeus Ropac London
-
Out of office: the Wallpaper* editors’ picks of the week
It was a jam-packed week for the Wallpaper* staff, entailing furniture, tech and music launches and lots of good food – from afternoon tea to omakase