The above are merely my views based on the evidence supplied


Installation at Space 26, part of Situation 3, 2018.

Space 26 is a home, lived in by a couple with two small children. The work is installed in the upstairs study of the home. 

A looped video is presented on the family’s existing Mac computer monitor. This documents a walkthrough of the flat from several weeks before the show - the video is handheld, begins on the street, enters through the front door which has been left ajar, walks through the home examining various details, walks up to the top floor, and enters every room except for the upstairs study, which is where the work is ultimately presented. Through the door of the study, also ajar, we can hear and see a mother and two children. The camera goes back downstairs again and exits the house.

Beside the video is a printed email correspondence. These emails document an anonymised conversation between a private investigator and the artist. It charts the point from the artist approaching the private investigator to the private investigator providing a written report on the footage provided (which is being shown on the monitor), and ends with the investigator demanding payment. This last email has been sent the morning of the opening of the show. The report postulates on why the video footage may have been taken, the sort of people who might live in the home, and what might have happened to them.

A mobile phone is playing a playlist of songs on loudspeaker; it is hidden under a cushion in the room. The playlist includes Our House by Crosby, Stills and Nash, Mother and Child Reunion by Paul Simon, In Dreams by Roy Orbison, I’m on Fire by Bruce Springsteen, and Everyday by Buddy Holly.