Single Wide revolves around a trailer house, a woman and a pickup truck. In the video, it is evening and the house stands in a landscape in the middle of the countryside. The camera travels in one steady movement, like an unblinking eye, circling the exterior of the house, the surrounding landscape and passing through exterior walls of the house to the interior. Inside there is a young girl’s bedroom, a living room, kitchen, bathroom and parents’ bedroom. We see the woman alone, carrying a bag with what appears to be the belongings of a young girl, walking through the rooms of the house. She exits her home and walks to a pickup truck parked outside. The truck engine is running and the woman sits inside in an upset and agitated state. It appears as if she is preparing to drive away. Instead, she drives forward, colliding directly into the house she has just left. Seen from the outside, the truck sticks halfway out of the front facade of the house. From within, the front cabin becomes an architectural extension, a room inside the room. With the woman as the central aggressive force, the narrative of these two architectural spaces and the depiction of the house as an embodiment of her past present and future, collide with one another in an unfolding, relentless cycle. The sense of entrance and exit, inside and outside, before and after is completely interlaced. Interior rooms and architectural thresholds within the house become synonymous with the appearance of frames on a strip of film. In Single Wide, the narrative potential is built upon the deconstruction of the set. Reminiscent of some of the architectural interventions of Gordon Matta Clark, the house has been physically split in half in order to enable a moving camera to pass seamlessly from room to room, inside to outside. The camera movement implies a fracturing of the domestic space and echoes the physical and psychological turmoil of the woman. Single Wide was shot on location in Elgin, Texas in 2002.