MONUMENTS is a powerful dialectic fusion of architecture, fine art and human history appropriating iconic non-gallery spaces. It challenges perceptions of art and democratises locations often closed, sanctified or simply beyond public reach. Through this intervention MONUMENTS focuses upon their human significance, whether for good or evil and as a result questions perceptions of mankind's complexity. To date Duffy has touched on issues of slavery, post-industrial reinvention, banking and global finance, religion and sacrifice. In contrast Venice will focus on man's ingenuity, creativity and potential to create beauty. Venice, historically a great sea port and trading nation but for Duffy, it crucially exemplifies mankind’s highest achievements in creativity, a place of unique architectural achievement, aesthetic beauty and visual harmony with nature. It is a completely unique and iconic city. The Palazzo Contarini Della Porta Di Ferro is a perfect location to emphasise Venice's iconic nature. Commissioned by the Contarini family, known as the London Contarini's because of their links with London banking in the 15th century, they are historically one of the most illustrious Venetian families who counted 8 Doges and 44 Procuratori among their family. The palazzo was built in the 15th century in what is now the oldest part of Venice. It is one of the finest gothic palazzos, described by the English writer and essayist John Ruskin as one of the most beautiful in Venice. Through the appropriation, MONUMENTS will inject a contemporary narrative and dialectic into the palazzo signifying and emphasising its unique artistry, architecture and legacy. This dark foreboding structure, unique to this location, consumes the interior of the palazzos foyer creating an intervention impossible to ignore, forcing you to walk along its dark exterior searching for the place to enter. Once in the enclosure, there is no denying the latent spirituality of the space, it is after all a sanctuary, a place to reflect, a sense of place and a sense of self. The 10ft high paintings appear to float on the walls, they appear strangely ethereal and at the same time to have a physical, embodied, presence. These images have been torn, etched, scraped, scratched and brushed into existence, like the palazzo they have not arrived easily, the narrative is brought to life.