According to Stokes' WEB site: "A densely beautiful maze of memories, faces and words. All the parts that make it up, the snatches of conversation, the stolen shots, an eye, an ear, a mouth, the intense saturated colour, are held in place by a grid of fencing wire." -- Source of annotation: Marvin or Ruth Sackner.

According to the Stokes' WEB site: "Taking as a starting point the incongruous space and shadows made by the open pages of the book, the process of opening or "entering " is explored as one would an unknown dwelling. This process of exploration develops into the construction of a room within the book and then leads from the core of this interior place outwards, as fusion between inside and outside. Interspersed, a constructive text hovers and casts shadows on the open pages as an active commentary and associative dialogue on the 'construction .'" -- Source of annotation: Marvin or Ruth Sackner.

According to the Stokes' WEB site: "A visual narrative is built up in sequence through the devise of car windscreen wipers, which when wiping enable the viewer to see the road and the developing events in the book ahead. However not well enough to avoid a collision with a motorcyclist. On collision, everything turns upside down and leads to a new sense of time and space floating loose." -- Source of annotation: Marvin or Ruth Sackner.

According the Stokes' WEB site: "The several modes of storytelling in this book relate to different layers of time. The snapshots of renaissance buildings evoke the distant past in the present while the people in the scenes and text portray the recent past in the present. The photo realism of the imposed objects that sit on the pages and breal them up as illusionistic windows, suggest the present or the present now past. " -- Source of annotation: Marvin or Ruth Sackner.