This piece was inspired by the paintings of Van Eyk and in particular the "Marriage of Arnofini". This piece uses reflection as a means of portraiture and reflected self portraiture. Though obscured and distanced, the artists reflection watches from behind the central figures. PARANOID MIRROR engages ideas of reflection, tracking, surveillance and voyeurism and uses the viewer as a direct interface. Sensors strategically placed on a floor cause the still image in a gold frame to activate, turn around, dissolve between sequences of reflection into both the viewer and/or other women in the videodisk sequences. In some instances, a switcher places the viewer's back into the frame, countering the direct reflection into the scrim-like layers of the images. The back of Anne Gerber's head is seen when the piece is inactive. Furthermore, Anne Gerber has experienced difficulties with sight itself, underscoring the often mistaken paranoic fear of being watched as well as the relationship of paranoia to voyeurism and surveillance. Accompanying this piece are four photographs from the filmed sequences. These images are framed so as to obscure the image. Appearances therefore, are often reflective illusions and projections of the observer.