Andrew Forsters’ Interiors series is comprised of “out of focus” colour photographs that were taken in museums and other exhibition spaces. By the blurring of the images, the specifics of who, where and what are eliminated so that they become more about the general conditions of looking and experiencing culture than about specific detail and content. By losing specific details, the photos focus on different details of perceptual and cultural processes. Forster notes that things that survive the blurring process are the structure and space of architectural interiors, represented in conventional perspective, the amorphous shapes of human forms and the rectilinear shapes of the images they look at, all of which therefore becomes the focus of the photograph.

Chris MacDonald’s Looking Out/Looking In is primarily concerned with the phenomenon of light, more specifically in the luminosity and shape of light within a given space, and moreover, the inherent ability that light has to define a space. MacDonald feels that light can occupy, transform, and create space thereby altering one’s perception of an environment’s properties; in the same way, space can intensify, diminish, or extinguish the radiance of light. Between the two elements, there is an inherent relationship, wherein they constantly define and redefine each other’s margins.