In this video, the unseen narrator describes her inability to communicate to the camera what she wants to say and to whom she wants to say it. The curtain is the central metaphor for the piece, representing how Latham hides behind the video medium, as well as how the medium presents an obstacle to the artist, functioning as a cumbersome intermediary to expression.
This title is also available on Barbara Latham Videoworks: Volume 1.
During the late 1970s and early 80s, Barbara Latham produced a substantial body of work that innovatively meshed the formal concerns of video with autobiographical, narrative, and political content. Dedicated to furthering video art and challenging its reputation as an inaccessible, esoteric field, Latham was on the board of directors at Chicago's Center for New Television, and was influential in shaping policy that served the needs of independent producers. She was also a strong advocate of politically-involved video work and, through her own work, explored issues related to female identity, such as the political significance of women’s personal histories.
Often producing collaboratively, Latham worked against the hierarchical delineation of roles that characterizes standard video and television production. Her belief in the active construction of identity is conveyed in her use of fragmented and manipulated images as a metaphor for lived experience. For example, in Arbitrary Fragments, Latham speaks of herself as a gypsy storyteller weaving fact and fiction in an unreliable mixture that, for her, signals the free play of autobiography. Consuming Passions speaks to the "unification of personal identity", the creation of a sense of self, falsely constructed through the activity of shopping and eating. Latham was head of the video department at the School of the Art Institute of Chicago from 1978 until her untimely death in 1984.