For the first time, Louise begins to explore her own ancestral heritage in this ongoing body of work. Remaining deeply committed to the release of the unconscious – be that anger, longing, a kind of feverish imagining or the act of re-membering- she examines the links between her own personal life narrative and that of her Jewish-Russian heritage. Visualisations of the shadow, be it collective or personal, are complex and fraught with ethical potholes. Til All Is Correct seeks to carefully choreograph a private performance space that the camera, acting as contemporary confessional box, facilitates. It is a personal search for connection, an act of remembrance and a clarion-call for continued collective re-assessment of our common relationship, one to the other, in an increasingly fractured and polarised world.