Fading was based on a short story I¹ve written. The story explores memory, migration and cultural identity.

The container for this fragmented narrative is a banal, familiar object - a knitted jumper shrunk in a washing cycle which no longer fits. Yet it gains the power to trigger memories in the narrator, transporting her from the present into another time and place, as physical objects so often do throughout our lives.

While in the struggle and frustration of being entangled, many thoughts are kept simultaneously active in the narrator¹s mind, from memories of the ghostly presence of a group of friends, dispersed around the world after the military coup in Argentina to narratives of personal entrapment.

The story becomes more than a safe, contained physical reality by opening into a bizarre world of the imagination.

In the imagery, some of the textile qualities, like the softness of the wool, are maintained as a visual illusion bringing the haptic into play, the images activates a kind of visual tactility, a subject that preoccupies me while working with New Media.

An invitation to touch is denied by the screen - we are unable to make contact and unable to become direct participant. Rather we are seduced by the imagery into an evocation and recollection from our personal memory of touch to reconstitute and translate that space, the focus shifts from hand to eye.

I used frame by frame digital animation to artificially create some of the movements of the jumper in different sections of the video and seamlessly merge them with original footage to create an impossible transformation.

Through this combination of techniques, a tense relationship between artifice and natural movement is created.

The jumper, a familiar object dematerialised into bits of digital information, is transformed and liberated from its everyday meaning to set up alternative readings which allow the viewer to make new connections and associations.

The audience is able to hear fragments of the story through the narrator spoken monologue.