An audience-member passes through a corridor before entering a room and sitting down. The room has the same drab and aged decor as the corridor. On the walls are a clock and some pictures: a solitary tree in a field, a man at the edge of a landscape. A lone canary is on view in his cage, providing the only sound aside from the ticking of the clock. In front of the chair is a coffee table with some magazines. Facing the chair is a window. Through this is a view across darkness and into another window where a man is sitting and looking back; this is a live-feed screen of a performer who is positioned in another room.

​Subtle movements occur as the performer’s position shifts in the chair. Sometimes this seems to correspond with the visitors own movements, sometimes not. Over time, the inconsistent and subtle mimicry causes the viewer to realise that rather than being a passive viewer of an artwork, they are involved in a live interaction. The meeting places the visitor in the position of an equal participant, if not the focus of the work.

During the interaction the room, together with the adjacent screening room that is visible through the window, mechanically tilts very slowly 10 degrees to the left and then back again. The hanging light in the room is fixed so as not to tilt with the movement of the room; a sense of uneasiness is evoked within the visitor while it’s source remains unclear. The motivations behind making this work are hyper-vigilance and self-consciousness associated with being visibly alone.