Light touches the surface slowly.

The sheets retain the impression of weight.

​The frame approaches intimacy — almost intrusion. Drawing from Helen Westgeest’s notion of the spectator as an “accidental witness,” the work foregrounds the cinematic apparatus and the embodied presence of the viewer. ​

Almost a skin — a membrane, a perceptual threshold — the screen mediates between the moving image and the viewer in a slow dissolution of the voyeuristic gaze. The spectator occupies the perceptual space on the other side of the frame, where the image seems to precede memory.