'... that set me on the path to thinking about interior monologues and finding that everyone’s got a story; everyone’s either got a secret or everyone’s got something that you can’t perceive by just meeting them briefly or seeing them from a distance. So with the confession pieces I started in 1994 (and gathered into the film Confess All On Video: Don’t Worry You Will Be in Disguise. Intrigued? Call Gillian), I decided that I wanted people to feel protected when they talked about certain things in their life that they wouldn’t want the public that knows them to know...
'... there are still large instances where people need to withhold secrets, and even since I first started the confessional pieces, I think we as a society have changed—people are being more open now—and that’s why I decided to make a piece called “Secrets and Lies” (2004). It’s the real big secrets that you probably have to keep from your friends, your colleagues. People came forward and again I used the same method, wearing masks to conceal identity. The masks kind of help protect the people, but people also feel quite empowered by them because they know they’re not waiting for some post-production facility to blank their faces out, and it gives them a sense of slightly being a different person because obviously when you put on a disguise you can be free of yourself for a certain while. There are some very big secrets in the film, really some large confessions, quite harrowing ones as well. I showed the work in a very small space, a bit like a confessional booth, so you had this very intimate experience when you faced the person, which is a sort of head and shoulders shot, that the person is somehow only talking personally to you. Someone telling you something for the first time, you really get close to the stories in that way. '
© Katie Eilidh MacDonald Paul, all rights reserved