‘Masako Sayer’s video is an example of moving from the sublime to the ridiculous, then back again. The motion of the scene, from within the car endlessly circling the roundabout is of course quite futile; but after a while a different kind of contemplation sets in, as it might if you were the hapless panicky hostage in the kind of Hollywood movie where the guy who seems to be on the run from the law turns out to be a perfectly reasonable man, and you start to enjoy being on the road with him, and things become friendly and enjoyable. Sure, Sayer isn’t taking you anywhere, but the video starts to make the gallery spin around you, and the relationship between the subject, video and the place it’s seen in begin to merge. Which means that perhaps you’re not ‘watching’ video in the usual sense?’

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‘Masako Sayer’s video is an example of moving from the sublime to the ridiculous, then back again. The motion of the scene, from within the car endlessly circling the roundabout is of course quite futile; but after a while a different kind of contemplation sets in, as it might if you were the hapless panicky hostage in the kind of Hollywood movie where the guy who seems to be on the run from the law turns out to be a perfectly reasonable man, and you start to enjoy being on the road with him, and things become friendly and enjoyable. Sure, Sayer isn’t taking you anywhere, but the video starts to make the gallery spin around you, and the relationship between the subject, video and the place it’s seen in begin to merge. Which means that perhaps you’re not ‘watching’ video in the usual sense?’