My first idea started from the physicality of the camera. I wanted to explore the ability to overlap and show multiple perspectives of the same moments of time at the same time. What you see in the film feels almost like an animal with eyes on either side of its head, and as a viewer I’d like to think there is both a disorientation yet an intrigue into the idea of seeing behind you as you walk down a road at night while looking at where you are going. The form of the crude device holding both cameras offered enough of a reflection of a self (whether it be person or the camera) to where this idea felt achieved.

This film is a reminder of the differences between seeing an image on a screen and seeing an image in real life. I started the project by constructing the dubious “contraption” of taping a compact camera to the end of my tripod and facing it towards another camera. Not a lot of work went into the preproduction but it was a different activity for me and one that had me questioning how I was going to translate the feeling of distance to a flat image. Distance between both cameras, distance between the frames they were filming and distance between how I was seeing what I was filming vs the final product. While the eye is a universal figure in film and photography my intention was not to represent a classical “lens as the human eye” motif. I wanted to focus on the interaction between two lenses but more so than that the cameras as an object and its relationship to the world around it without loosing the element of acknowledged narcissism.

Traditionally I’ve thought the purpose of a camera has been the means to capture an image devoid of itself. This works when attempting to suspend a viewer's disbelief in a story or reality, but when trying to deconstruct film working backwards leads me to the camera as an object as a way to confront the viewer with the literal as opposed to a deception in tricking someone to forget about the technical means of how what they're watching is being projected or replayed.