16mm, B&W, Optical Sound, 5 mins
Poetic Theater of the Overlooked. Inspired by a dejected sofa left in the street, ‘Drag’ became a comic interruption of the rule of the road. A road test of materials, bylaws and nerve.
Degrees of Separation
16mm, B&W , Optical Sound, 3 mins
I knew my father briefly before he died in 2009. Symbolic and fragmented my relationship with him was an assemblage and a mismatch of lost memories, hauntings and a stark, mundane reality that was impossible to synchronise. Forcing the positive and negative to coalesce they jostle for prominence, drifting together and apart, irresolvable.
An experimental film of splitting wood, where the chopping block has been placed in between two frames and the critical split seconds are elusive. A frenetic energy hovers around this central absence and the endeavour of the artist is apparent. Hand made, hand printed and processed in a bucket bath the hand is not only in the action of the film but evident in the materiality of the projected image.
16mm film performance, B&W, 10 mins
This 100ft length of film is formed by the audience into a ‘living loop’, before being taken up and played out by the projector creating a sympathetic film which conjoins the audience and the artist in an act of duration and suspension.
16mm, B&W , optical Sound, 4 mins
Mixing up film and domestic structures, this film reaches beyond the frame, testing out access and escape, aperture and portal.
The letraset sound also bumps its way across the frame boundary into the visible.
16mm, B&W, optical sound, 3.5 mins
A study of the optical sound strip on film, where light triggers sound. Objects as noise, passing across and out of the visible film frame, then through the unseen strip.
The artist, the action, and the consequent sound, all skirt around the edges of the visible. Interrupting the usual boundaries of framing and structure, this is an extended format film, asking the viewer to see what isn’t in view and to hear the shape of things.
Sticking the frames of a double shoot in 16mm onto 35mm frames gave me the sense that I could locate the split, and the moments and place them into synchronization. However the resulting film has a life of it’s own and has evaded my determinations. The film frames are material and won’t sit still, they have taken up running along with the length of the film on its journey through the projector whilst a frenzy of wood splitting takes place.
I Saw, I See, I Looked
16mm B&W silent 8 mins
This is a tri-part film that began as an enquiry into the film structures created by the practical limitations of solo film-making with a 16mm, clockwork Bolex camera. Centrally a series of actions: deconstructing, surveying and measuring, but within the layers of repetition and poetics a construction of a subjective self emerges.