In collaboration with the artist Samara Golden.

A small apartment is filled to overflowing with someone’s past. The protagonist opens the door, uncertain whether she is arriving or returning. As she struggles with the space, the camera shifts focus between agoraphobia, claustrophobia, the internal and the external, the watcher and the watched. Taking its cues from film history, Sugar moves through suspicion, voyeurism, murder, revenge, guilt and reconciliation. The nostalgic-elegiac quality of the footage, combined with the classical pacing of Reynolds and Jolley’s purposefully involuted story create an enveloping scene that floats uneasily between real-time drama and subjective, non-linear experience.

Accompanying the film loop, Reynolds and Jolley further explore these unsettling territories with the expansion of the film device at the centre of the story. This impossible “three-dimensional film still” uses two life-size, hyper-real sculptures to present a live self and a dead self in communion together. By means of this literal representation of the doeppelganger, Reynolds and Jolley allow for a sustained and powerful view of the dark, dead centre of the minds eye.

A mix of the best hallucinogenic effects of both Duane Hanson and David Lynch, these sculptures in particular provide an hypnotic echo of life just beyond the threshold of the conventionally reasonable and the familiarly rational.

Reynold Reynolds and Patrick Jolley have exhibited in, among other venues, Tate Modern, London; National Gallery of Art, Washington; Hammer Museum, Los Angeles. Their films have shown in Sundance, The Edinburgh Festival and the Rotterdam Film Festival. Reynolds and Jolley’s 2003 project Burn will be exhibited at the 2007 Berlin Biennial.