'A sticky jammy dodger and crocheted places for my hands to sit. I love projection that hits actual things, the physical blueprint of the house, balsa-ed up into spaces - quite cold and alien - and the framing of the residents , their places and their memories. An intersection of that flimsy construction, the ephemeral projection light and the solid dark furniture seems to activate something of this housing scheme - something of the fragility and solidity of that existence. Nostos and Algia - the reconstruction of the lost home and the longing which delays the homecoming.
I move around the space and choose how much time to spend with Bob and how much with Peggy, but what is missed? There is shortbread and a digestive - fake grass too. Where does this spectacle happen? In its arrangements and fragments of encounters. I see the chair, the table and the universal symbol for door placed there. Blueprints leading me back to the building. Flats going up. Section 106 payments not made. Unaffordability. 'There's no strangers, there's no fear'. The aesthetics of housing.
Six people in a semi-circle face each other and watch. Sometimes I watch the person opposite. There is a gentle sense of interaction, a gentle question. the scruff of our neck is not grabbed. Time is in play and the piece settles around us a little more, rather than us being immersed or plunged into an experience. I don't think about my choices as much. This is not time bound. It is an opening in the day to be and distance is allowed.'
-Dr. Joann Scott, discussant Critical Care Symposium