Collier’s photographic works typically incorporate images of found everyday objects, including magazines, record sleeves, jigsaw puzzles, used books, analogue darkroom equipment and abandoned self-help manuals. Her works operate on the threshold between the personal and the universal. Informed as much by the advertising and technical photography of the late 1960s and 1970s as more recent approaches to photo-conceptualism, her work invites the viewer into an animated web of formal and psychological associations. Collier’s works explore questions of perception and representation and the mechanics of the gaze. Negotiating biography, nostalgia, and melancholia, Collier’s work establishes a tension between her employment of an almost forensic photographic objectivity and the often highly subjective and emotive content she focuses on.