In one corner of the art gallery’s coffee lounge stands an old wardrobe, with a felt robe hanging loose and storage jars standing on the shelves. On top is an ancient brown suitcase. The jars, we are told, contain some of the detritus of the artist’s life; instead of old clothes, the wardrobe holds dust

Meanwhile, and more importantly, a short film is projected from the wardrobe onto the opposite corner of the room. In this piece I have the feeling that Rachel Howfield has produced something of real and unusual significance.

The film – in which the artist sits, drinks coffee, wears the felt robe and moves around a bit – was taken from the exact position from where it is projected, so that we are effectively seeing an event re-occurring in the exact place where it happened. So what?, you might think, but the effect on the viewer is disturbing and multi-layered.

Sit down at one of the other tables and you begin to feel like a voyeur, watching someone who is unable to watch back. Then you see that the subject’s movements are mundane but not quite natural, the way we all would be when we knew we were being filmed – or watched by an invisible viewer. And stronger still is the sensation, which is frankly disturbing, of seeing some kind of ghost of the past. Someone who is present but not there, alive and with, while you are completely alone.
All of this takes time to emerge; this is not a piece of art to be hurried. It questions and disturbs our perceptions of the world – like all really good art.
Roger Osborne