Jeremy Borsos' Been Poll achieves a peculiar coup. His panoramic grid of home movie excerpts acts pictorially rather than cinematically. The anonymous filmmakers who shot the original footage  for Been Poll organized their imagery as if they were taking a commemorative still photograph or a group snapshot. Borsos has painstakingly organized these quotidian sequences to lead up to a kind of communicative gesture: the wave, the close up, the 'raspberry'. These micro narratives which Borsos has slowed to quarter time, are as revealing as Muybridge's stop action photography. The signature gesture is far less compelling than the incidental interactions revealed by his footage. The ingenious moments of Borsos' composite image are unexpectadly affecting, despite their taxonomic structure. We feel we know the kids, families, couples, grandmas, party animals and tourists waving at us, making faces, coming up into our person space across a chasm of generations and decades... we are participants, kin maybe, rather than spectators.

     Borsos' panorama invites us into a crowded party: where do we look first, which narrative do we want to follow? Its impossible to take it all in. Borsos gives us an escape hatch. In a small side room we can view minute narratives culled and reassembled from the same footage as Been Poll. Characters newly familiar appear in quirky stories, causing us to wonder how many others lurk between the frames of Been Poll waiting to be snagged by Borsos' imagination.

Helen Marzolf