“the camera and the self as a tender witness”
“A house constitutes a body of images that give mankind proofs or illusions of stability.”
— Bachelard, Gaston & John R. Stilgoe. The Poetics of Space. Beacon Press, 1994.
‘The corner’ grounds itself on the plane of the fragile. It is a project that sits within the interstice, and within a frame of solidity, illuminates the negative space of solitude; the home, the family, the corner. The house both envelops and projects. It is a container for Worrall's 'home videos' - permeable - the figures and movements slowly drift outward; noticeable to those who are open to see from beyond its liminality.
Her use of familial images and experiences prompts a reflection of the artists 'self', whilst speaking to the fragmentation of the familial archive. This ‘self’ within and around the home; presented by revealing and concealing isolated forms of her parents, is an investigation of how intimacies can permeate into the immediate exterior of a commonly revered solidified structure.
Tentative in their pursuits, the hand-held movements of the camera again allude to the maker. And their fragmented and cropped nature intensify the actions within the frame. The ‘close-up’ gives a sense of integrity encapsulating stillness-in-action. Pushing towards and angling the camera down towards the feet, hides the figure but confesses their intimacies within anonymity.