At the entrance to the gallery the word ‘sanctuary’ was painted, immediately setting a particular tone that transformed the viewer’s expectations of what the space was to offer. The walls inside were painted a deep blue/black, and dotted with roughly sketched clouds and lightning bolts. Autumn leaves covered the floor and were blown around by two electric fans. Scattered props were left as ‘clues’ to be encountered by the viewer, including an old pistol that hung on a wall, like a prop leftover from an amateur dramatics production. An audio track shifted between the sound of howling wind, a Blur tune, and Frank Sinatra singing 'I’ve Got You Under My Skin'.

This setting provided the backdrop for the display of guilt-framed pastel works in which scenes and stars from the two TV films were depicted in a casual style that brought to mind a teenage fan copying from screen stills. In making the artifice of this environment explicit, Kilimnik allowed it to function as a site for fantasy, play and open-ended fiction. In entering the space, the viewer was presented with the tantalising fragments of a possible narrative, and invited to the reconstruct it.