images from the installation at the 2004 Adelaide Biennial of Australian Art, Art Gallery of South Australia, then images from the installation at Nederlands Instituut voor Mediakunst, Amsterdam, March 2005, showing video images printed onto silk
A key image in LivingTomorrow is the headscarf. It also appears in a previous work, entanglements (2004) which draws on news broadcasts of the war in Iraq and the _war on terror_. In the exhibition at Montevideo, the screen is partially veiled by translucent white fabric. It is both a curtain and a metaphor for the layers of interpretation that lie between us and the documentary footage on the television screen. Silk pillows and a silk panel are also included in the installation, and viewers are invited to sit on a domestic couch to view the projection. The silks are printed with video stills, amongst them the black-clad female terrorist collapsed on a seat after the military stormed a Moscow theatre in late October 2002. Like an icon, the pillow is located on a high shelf. The application of this image to a domestic item, and its relative stillness in the context of the televisual _noise_ on screen, renders it all the more harrowing.
from Victoria Lynn's essay on the LivingTomorrow installation, March 2005.

images from the installation at Nederlands Instituut voor Mediakunst, Amsterdam, March 2005, showing video images printed onto silk