She carried the letter to the café and put it on the table between them without showing it. "It's stupid," she said. "I thought maybe—if I read it aloud, it would become less of a thing." Tori nodded, and the two of them read the letter together, each syllable rearranging the geometry of Hazel's memory. When the final sentence arrived like the last stone in a wall, Hazel felt no sharp release. Instead there was a small unmooring, like stepping off a curb into water you did not know how deep.
Together, the piece marks a : Moore’s concern for the psychological impact of being seen meets Easton’s focus on the material choreography of space. It foreshadows subsequent collaborations (e.g., Thresholds (2021) at the Baltic Centre) where they further explored the interplay between digital mediation and physical presence .
The dominant visual is a looping montage of fragmented human faces, drawn from a mixture of archival footage (public domain newsreels, 1970s protest rallies) and newly shot close‑ups of the artists themselves. The images are over‑exposed, their edges blurred, and occasionally overlaid with static that resembles CCTV interference. As the loop progresses, the faces appear to mid‑gesture, then dissolve into a grid of pixelated silhouettes that pulse in time with the soundtrack.