These destructive properties associated with the global are evident in Jeannie Baker’s book “Window”. The thirteen picture montage depicts the global infiltration of the local environment, as seen out of the window of a growing protagonist. The first image is that of a mother with her child, looking out onto an idyllic native rural property. As the images progress, the landscape begins to change, with the slow penetration of economic development. By the time the child reaches his twenties, the rural backdrop has transformed into an urban city, epitomised by global symbols such as ‘McDonalds’ and ‘Coke’. By this stage, the light earthy natural hues of the first image have been replaced by sharp grey textures. These earthy colours do not return until the protagonist reconnects with his personal community, back in the country. However, even once he returns to the local, now with a child of his own, he cannot remove himself the global. This is enforced by a centrally placed “House Blocks For Sale” sign, and the distance view of the city, looming in the background. Thus, Baker asserts it is impossible to escape the global completely, much as we may try.
