Perhaps that wasn't surprising, given that Pick's images of Elvis Presley and Janis Joplin originated in a series of famous police mugshots. Removed from that context and dropped into the comparatively elegant spaces of a commercial gallery - alongside a series of portraits that were, by contrast, poised and aloof – Pick's versions were both strange and familiar, like the strains of a well-known song performed by an unknown artist. Lined up against a wall and stripped of their microphones, stages and entourages, Pick's Joplin and Presley appeared as alternate versions – inadequate stand-ins for their former selves.

Like the real Charlie Chaplin, who once entered a Charlie Chaplin lookalike contest and did not even make the final, many of Pick's recent works have explored the creation of deliberately inferior replicas – the aura of star quality we associate with these figures has suddenly deflated around them, like a pricked balloon.