A lilting paean to the manifold strains of native grass that cultivate upon Arthur's Seat, Edinburgh. Frenetic movement and textures dominate the frame, and the synergy between sound, locomotion, and image creates a hypnotic sensory panorama.
Exploring ideas of landscape and dislocation, ‘Our Selves Unknown’ takes architect Lionel Brett's 1965 book ‘Landscape in Distress’ as its sole raw material, isolating and reconfiguring its photographic illustrations, text and cover design as pencil and ink drawings, using a working process of self-enforced rules and restrictions, obstacles and chance.
A pool and a reflection
Held down below the gentle, rippling surface
Hidden between the stabbing and persistent pulse of falling rain
Waiting to resurface
From 2010-2013 I recorded every departure from my parents home on an iPhone. form relationships with cameras and these in turn expose the relationships I have with my family. The routine that I followed reveals the dissolution of a family home.
Telling the story of a girl, through the eyes of her older, wiser self. Shown in a daze of colour, she falls into a nightmarish state of mind. And through an audio-visual platform the narrative blurs and distorts into a new reality - revealing a burning new picture of truth.
#1 and #2 are searching for their magnum opus, the one story that will bring them clarity, purpose. When they struggle to find inspiration in our world, they are ripped from it...but what happens when you lose control of the world you create? Forget the story. Meet the tellers.
Adeline For Leaves explores nature, science and mythology through the eyes of an eleven-year-old botanical prodigy and her recently deceased, elderly mentor.
An experimental short exploring the poetics of camouflage in everyday landscape, showing the subtle shift between place and character. Told in the style of moving tableaux.
This piece, using a methodology diametrically opposed to Warhol's own, revisits stray elements that pass incidentally through that moment of monumental presence we experience in 'Empire'.
Screenings include:
53rd Ann Arbor Film Festival, USA
Experimenta 58th BFI London Film Festival, UK
Eighteen year old Charlie ends up in his brother Barrie's filthy studio flat to cut his hair. As Charlie cuts Barrie’s hair memories of their childhood come to the surface and their past begins to take its toll on both brothers.
Rainbow’s Gravity is a cinematic study on the Agfa-Color-Neu colour film stock made in Nazi Germany. Along its three layers of emulsion, the film digs deep into the escapist colourised landscape of this time and asks for the material requirements, retentions and ideological continuities of the Agfacolor palette.
