A video recording was made of the renovations undertaken in gallery one at RMIT. The recording was shown to a clairvoyant who was asked to provide a historical reading and a future prediction of the space whilst watching the footage. The clairvoyant's response was recorded and exhibited alongside the original gallery recording.

Video for then relegates the gallery space to the confines of the screen.  It encodes a place through the medium of video, taking from it its surface imagery and a limited temporal reflection of the fabric of the site. The recording is then decoded through the clairvoyant, who is asked to see beyond the surface of the image into a sense of place. The clairvoyant is also asked to read the past, present and future of the site.

From a formal perspective the work is an exploration into the predictive possibilities of the medium and also what the video image can hold?    It is also an attempt to see if the electronic representation of a place can radiate a sense of history, and a sense of its future to the appropriate viewer.  It is both a study of place (site) and vision (sight) through time.

I am not interested in the idea of accuracy or truth linked to vision or foresight.  Of greater interest to me is how we chose to see things and how differences in vision coexist. To explore these concerns was to explore certain characteristics of vision, its limitations its corruption, its subjectivity and its construction.

In essence I became interested in: How people see, how people think they can see, how people want to see, how people think they should see, and what people see, as opposed to what is physiologically visible, in an image, a place or an event. Finally I decided to work with a clairvoyant because of the ability of foresight. In doing so I consciously play with and acknowledge the parallels between the clairvoyant and the contemporary artist who both tread a fine line between the visionary and the charlatan.