The long exposure of the pinhole captures everyday moments in my life, carefully observed, inconsequential instants that one wouldn't normally talk about let alone photograph and record. The camera moves with me during the activity making it an extension of myself, rather than simply a disconnected observer. It encapsulates these myriad moments in a still image, showing them in a way that is beyond my seeing. The text beneath the image adds to it but doesn't overshadow it. The image is first and, when ready, the text is there to be absorbed, and the image looked at again with renewed comprehension. The brevity of the text is like that of a Haiku poem - a form of Japanese short poetry - particularly the Shasei form of this, meaning 'to sketch from life'. The text flawlessly fuses with the image to create a perfect metamorphosis of the two art forms. This containment of text is echoed by the postcard format - traditionally a way to write a brief note. The image and text is carefully placed on a white background giving space to be viewed and considered, the audience immersed within the layers of information. The movement during the exposure is accentuated by the blur and stillness in the image, flow and stop: the flow of the blur and stop of the more inert parts create movement through the image. The sequence calls on Japanese culture again using the design of the stroll garden to orchestrate this journey.