In 2012 I exhibited a moving image installation, titled Projective Views, for the conference FLOW2, held in the Wunderlich Gallery, Melbourne. The installation comprised several film projections showing a series of views through windows from a number of international locations. The locations, in London, northern Italy, Perth and New South Wales, are homes of friends and family. These are places that I regularly dwell; the views thorough these windows familiar to me. The footage was projected onto the gallery panels positioned in front of the room’s long row of windows, and on the opposite wall, transposing new virtual ‘windows’ onto these other, distant exterior spaces.

In 2015 I was invited to prepare a visual essay of the project for inclusion in the publication Sparke, P., Brown, P., Lara-Betancourt, P., Lee, G., Taylor, M (eds) Flow: Interior, Landscape and Architecture in the Era of Liquid Modernity, Bloomsbury, London, 2018. I therefore needed visual material for the visual essay, but as I had been unable to attend the Melbourne exhibition in person, my only access to the completed work was via photographic documentation – the images above were the best available from the exhibition’s documentation.

In order to produce more images for the chapter I took this as an opportunity to develop my “reconstruction” strand of practice (continuing on from the Nauman Double Doors model) by producing a model of the Wunderlich Gallery, complete with my video projection installation. This required me to make a model that would allow for the inclusion of my “pico” miniature data projector, and for it’s projected image to be the correct size – the scale of 1:33 allowed for this and is sufficient to obtain a reasonable about of detail in the model. 1:33 is not a standard architectural scale, but is a commonly used scale for model aircraft.

The following are the model images that were included in the final chapter.