Most of these windows seem to belong to participants’ homes, subtly situating the viewer within their personal space.
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Windows are a recurring presence in the video diaries, often serving as both literal and symbolic frames of the participants’ worlds.
In many cases, their use appears primarily descriptive – offering a glimpse of what participants see each day: beautiful bays, quiet roads, the roofs of neighbouring houses, or sprawling city skylines. In others, windows reveal what participants cannot see – views obstructed by walls or curtains, plants deliberately placed to block unpleasant sights, or night-time frames filled with darkness.
Most of these windows seem to belong to participants’ homes, subtly situating the viewer within their personal space. Occasionally, however, other types emerge: the structured panes of an airport or a train station or the fleeting perspective of a car window, all of them showing the transitional nature of their life.
Whether clear or blocked, bright or dark, windows in these video diaries become metaphors for perspective and limitation – what is opened to the viewer, and what is kept out of sight – shaping how participants choose to share their surroundings and, perhaps, their state of mind.