With her recent project, Views from the ground floor, Jess Loseby's digital-based, net.art and new media practice has taken a evolutionary leap forward from her smaller net based artworks, into a larger production of interactive net.film. This ambitious experiment fully incorporates layered slices of text, audio and visual composites, each declaring independent dialogues in their own right. When stitched together, this series of flash and html pages, amalgamate into a closely woven multi-narrative tapestry of consecutive pieces.

'When do we get too old to have fears dictated by strangers?' is one of the less complex pieces, accompanied with a looped piano score playing in the background and three images of a young child, situated as a triptych. The young child is sucking on a thumb as a faded, animated background moves slowly, which looks like someone entering a room through a see-through door.

Whilst one listens to the piano with its meditative pace, subjective experience comes alive, forcing one to reflect on childhood fears and the various vulnerable feelings that we may possess now. The images flickering behind the child evoke a very real sense of the other as relational experience, reverberations of dream-like interactions; triggers for our own minds, to redefine, mental images that we have ourselves collected, symbolizing moods of moments in time. It does not necessarily communicate fear as an essential part of innocence. It declares rather an emotional intelligence of what is must be. Our imaginations are poetic, psycho-tools that reason with the influx of fluid memories and the accumulation of intricate sensation.

The work has a latent extra dimension, in that it was created to be exhibited, not only on the Internet, but also in a physical space as a variable dimension installation. The piece may be seen in the form of two interactive projections, with a sculptural element in the presentation. This is a conscious effort by Loseby to open up the work to audiences new to net art.

The title, Views from the ground floor, suggests a reference to the attention paid by the artist to domestic, personal and emotional context as opposed to historical overview. The visitor journeys gently from one scene to the next interacting with each segment accordingly, getting further entwined into the fabric of Loseby's emotionally tuned lair. Each scene of this mini-epic is complete, exploring separate themes, sensations, sub-plots and stories. This montage plays to create subtle shifts and connections within the overall plot, continually emphasizing how multi-layered the work actually is.

Even though Jess Loseby's work has expanded in terms of its formal creation and presentation, much of the content and subjective nuances persist, with the continuation of ironic reflections of her family life and situation from a mother's standing point, also from the perspective of a creative individual. Her identity is a significant part of her work, declaring a kind of visceral realness that does not rely on the medium itself to justify who she is. In other words, Jess does not hide behind the medium.

"Mainstream art history has filed the personal and emotional under kitsch and feminist art - addressing everyday experiences. The only 'something else' linked to net-art is the technology. I think it is probably not emotional laziness, but an attempt to separate net-art as a different kind of thing. It's a shame, I would regret that ...." Talking Together - Jess Loseby & Tara Noid -
Constructing Identity 2002.

Her personal presence and emotional reasoning is an intrinsic part of the work, this includes the drama of the everyday, daily life is a valuable resource. This is another aspect of the work that communicates on various levels, making it possible to reach people who do not necessarily understand the aesthetics of new media and all its variants. Anyone can get something out this artwork for it touches on human frailty and personal politics that we all have to contend with.

"Views from the ground floor", was helped with the financial assistance of The Daniel Langlois Foundation for Art, Science, and Technology.