In Come To Daddy Chris Cunningham stages a miserable and surreal scene of run-down suburban tower blocks, in which an old woman walks her dog along a street strewn with litter. Camera and sound foster a feeling of suspense: the woman is not alone. In an adjacent carpark something appears to be lurking. When her dog urinates on an apparently broken-down television, the contorted face of the musician Aphex Twin appears on the screen. The title-song begins, and a distorted voice screams out from the TV: “I want your soul.” The old woman is driven in terror and discovers a group of children in the car park, each with the grinning, grimacing face of Aphex Twin. The demon in the television calls out to the children the words of the song-title: “come to daddy.” Carrying their “father”, they run through the carpark, sending a car owner fleeing in terror – all the time wreaking havoc to the beat of the song’s syncopated rhythm. The central scene of the work depicts the birth of the demon, who emerges naked and gaunt from the television. The editing is fast and he twitches to the beat. The contorted face again appears on the screen, but this time there is only one television: the one you are watching.