'Still in a bit of a haze… The event (for me) passed incredibly quickly once it got into motion, I spent most of the late afternoon in a state of high anxiety waiting for the last of the daylight to leave. Waiting to find out if the image would reveal itself on the projection surface. For a long time it didn’t, the light was still changing but the image not emerging… Then ten minutes or so before I was due to start the hour-long projection, a hint of the image became apparent on the wall. I continued and during the first quarter of an hour of my allotted time, the light changed the most dramatically and the image almost bled out of the wall into appearance. It wasn’t setting Pimlico aglow… But the image was present, and its saturated, soaked-in appearance brought other interesting factors into play. It was less of a grandiose spectacle, and more a chance sighting, caught by the peripheral vision of passers-by and then dwelt upon. As the haze slowly disperses, I appreciate my chance of re-evaluation, of reconsidering a piece I thought I knew very well and reconsidering the roles people play in such intervention and perhaps their reception of traumatic material. I think for a lot, at the time of viewing there was only surface, depthless surface. I have to wonder if such footage, in the context it was presented, will have left any impression on those who saw it. If something about it stuck with them the way the original material did with me when I first saw it.'
View Daniel's Tate Britain projection gallery [here]