In 2002 Patrick Jolley was commissioned to make a film in Dublin’s north-side suburb of Ballymun – an area targeted for radical social and economic change due to Dublin City Council’s plan to regenerate the area by demolishing and rebuilding residential housing and services. As part of this plan, residents were requested to move from flats in tower blocks, which in many cases were their lifetime dwellings, to new contemporary houses. Jolley filmed the interior of Shangan, an empty four-storey building, which was awaiting demolition and in collaboration with German artist, Rebecca Trost and Norwegian artist/animator, Lise Inger Hansen, combined real-time and animated footage. In ‘Here after’ objects disintegrate before our eyes, as though being eaten by some strange virus or invisible entity. The contents of a room disappear as the carpet beneath them is sucked into a void below. Wind haunts the empty spaces, stirring the curtains on an open window, or the wallpaper which barely clings to the damp wall. This movement is contrasted by the stillness of an undressed bed, a rectangle of light from outside creeping over its surface, pausing as if resting one last time before moving off again. Mattresses fall vertically, and on making contact with the floor, seem to leap up playfully now that they have the free run of the vacated rooms. The barrier between the interior and exterior is no longer intact, and nature encroaches – water dripping down walls, advancing slowly over floors, spilling dangerously from light-fittings. Light spills in too, but rather than hopeful illumination, its presence is menacing, evoking a sense of time passing too quickly, bringing premature decay.