I have just completed this dual screen edit of the studio 310 footage. I enjoy the juxtaposition of the two sources of footage.

This dual screen film places footage of a model side-by-side with imagery of the model situated in a real room, of which the model is a crude reconstruction. The two screens take the viewer from dawn to dusk in the model space and “real” space. On the left, quick cuts between the footage recorded by the different cameras show the details of the model, with the sunlight and daylight playing across these constructed surfaces, the view of trees through the window defining the space beyond. On the right, and referencing Michael Snow’s “Wavelength” (1967), a slow series of steps of zoom level bring us closer to the model (positioned in the single clean pane of window), the exposure shifting to emphasise more the details of the interior or exterior. Each screen exists us from its respective “room” with a different strategy – in the model, we leave through the drawing in of darkness as all natural light fades, and in the studio the zoom takes onward though the window, leaving us in the canopy of the trees beyond.

The two screens of imagery, each connected by primary architectural elements, the touch of the sun, and the view of trees through the window, challenge the idea of real and virtual space. Both spaces on screen are “real” – they are made of matter, existing in two and three dimensions – and yet what is on screen are representations of these spaces. For both model and room imagery the viewer “reads” space, sees a room in both, and anticipates a form of bodily dwelling on the other side of the screen.