In one way, this film is a a journey of perspectives. It begins more or less objectively, with a scene of two women in bed talking (we don't hear their voices). We are then drawn into a subjective journey through times and places. Ownership of this journey is ambiguous, and changes subtly until the final scene of the film when it is revealed to be (of course, who else?) the filmmaker's. In this way then, the film is highly personal.

In another way, my work is a continuous and deliberate disruption of what seems to be a narrative structure. The scene portraying two women in bed sets up strong expectations of a narrative film. After the scene is disrupted visually, the audio linked to the scene is also disrupted. The audio track is treated so that it sounds like it could be a sweep along a radio dial. This disruption of chronological sequence is characteristic of "horizontal montage," which is a non-narrative poetic/filmic device meant to represent simultaneity .... The intention is to lay bare the structure of narrative and decentralize the perspective, or point of view, of the film.

Exhibition: Osnabr?ck Media Arts Festival, 1989; Pleasure Dome, Toronto, 1990; Experiments '90, Melbourne, Australia; Formal Diaries, Japan tour, 1991.