At the side of a field a girl sits bored, listening to the idle chat of bargain hunters. A camera is placed in the grass nearby and the artist makes no effort to hide it. The girl notices this intrusion but is unconcerned. What results is a silent communication between the artist and her subject as the crowd passes by.
Shot in 2004, when Williams (Gamaker) was living in Amsterdam, the film considers home and belonging as well as grappling with South Asian diasporic identity within the UK. On reflection, this work, whilst not pointing the camera at the filmmaker, is very much an extension (projection) through non-verbal communication about the optics of brownness in the context of white England. It is also an early surviving video work that centres on what is a recurring motif in Williams Gamaker’s oeuvre of brown protagonists (either the artist herself or her collaborators).