In 2005, Juliette Blightman began a series of 16mm films, each showing a static view of an interior in a home or apartment belonging to a friend or family member. In several of these, the film’s three minute length was determined by the length of the film reel itself, and showed a single unedited shot, still and silent except for the sounds of traffic, weather, or maybe a television playing in the background. The image remained stationary until the last twenty seconds, when the camera panned across to take in the rest of the room. Revealing what is beyond the fixed frame, this move describes the parameters of what we have been looking at, and positions the artist physically here, behind the camera. But it is also a positioning of intentions that reveals the artist’s control of what we see, how and when. The films portray the settings of ordinary lives and though what they picture may be incidental, it is also deliberate. They show life going on inside the frame, but also at its edges to suggest the texture of an everyday beyond the limits of the work itself.