Lily Worrall

‘The corner’ grounds itself on the plane of the fragile. It is a project that sits within the interstice, and within this frame of solidity, we see the negative space of solitude; the home, the family, the corner. The house in this presentation acts as a frame that both envelops and projects. These projected images permeate from within the home. In doing so, they inhabit and acknowledge a sense of ‘presence’. Tentative in their pursuits, the hand-held movements of the camera allude to the maker of the images, and their fragmented and cropped nature intensify the actions within the frame. By capturing a sense of voyeurism and imagined senses, these ‘home videos’ elicit both forms of experience for the viewer and the editor. 

The ‘close-up’ gives a sense of integrity to an image of an action. To find a way of encapsulating stillness in action was a push towards angling the camera down towards the feet, to hide the figure but confess its intimacies within anonymity. 

I have acted as a mobile figure within an immobile space, taking cues from the traversal entity of the flâneur; regarding my imposed limitations within the home. This body of work reflects that space within the corner, and my proximity with these figures and movements slowly drifts onto the suburban street; noticeable to those who are open to see within this liminality. 

The use of familial images and experiences prompts me to reflect on the self, whilst speaking to the fragmentation of the familial archive. It has become a way of forming this ‘self’ within and around the home; through presenting and concealing isolated forms of my parents, and to explore the practice of investigating personal and intimate surroundings and how they can permeate into the immediate exterior of a commonly revered solidified structure.