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In Vivo

"In Vivo" is an assemblage of found footage. Doing doesn't provide much in the way of conventional context as to how these varied sources interrelate or how they should be read. But in editing them together at all, he asserts a radical subjectivity, an authorial presence that is autobiographical even when the images themselves are clearly borrowed from another vault. Doing positions himself, and the histories through which he has lived, within a much vaster narrative, implied through the other-realm textures of analogue footage as much as the actual content of his archival excerpts.

In Vivo

NR 2021
Before We Collide

In a haunting encounter, the film captures our fragmented perception of time during the pandemic while exploring the dynamics of mutual support. We are made aware of earthly transience (mono no aware) in a time when the Earth seems to stand still. Before We Collide is a short film shot on a Nishika N8000 analog lenticular camera consisting of over 800 photographs pieced together. The film does not give the impression that it is made for me, you, or anyone for that matter. It simply exists as an artefact that can be witnessed, like found footage of a ghostly apparition.

Before We Collide

7.0 2021
(study for) Swedge of Heaven

Using real world locations in Essex, "(study for) Swedge of Heaven" explores liminal, transitional, and peripheral spaces and realms, navigated by a reanimated rave mascot and a wooden Neolithic fertility figure. Although from distant moments in history, the protagonists are both figures indicative of ritual gathering created by Essex communities. Within the work the figures hover in cultural/historical flux, a state of simultaneous belonging and alienation as they pass through and around places seemingly suspended on the edge of conventional time and space.

(study for) Swedge of Heaven

NR 2020
Our voices are not our own

"Our voices are not our own" explores the concept of voice as a physical and immaterial presence or absence, in relation to broken vocal cycles. Invisible figures wear drawn costumes, created for the film using a chemical-reflective, light-fibre fabric. Soft-pastels and fabric changes in the different light conditions and under flash everything becomes monochrome. The figures wearing these drawings are rendered ghosts, or ghosts of voices, only their shapes visible underneath. The film’s audio is created from distorting frequencies of various digital noises taken from text, email and messaging notifications in addition to breath and heartbeats.

Our voices are not our own

NR 2020
East Village

A drone inhabited by the mind of a property developer arrives ‘top down’ from above and flies through the newly built residential neighbourhood in East London and gathers data at twilight. During the journey it maps the new utopian space it has built with its mechanical gaze, commenting and interacting with its findings, ‘We want to contain and retain our residents’. This is a place built in a bubble, controlled within the walls of developer’s billboards. Privately owned, East Village is awash with branding and reaffirming smiling faces. Purchase a luxury flat and buy into the services, life style and more. As the drone declares ‘Everything you need is here!’ With Westfield shopping mall on your doorstep, its ever present logo glowing like a beacon of hope, why would you ever want to leave?

East Village

NR 2020
Measure

Views of a landscape engraved directly into the emulsion of 16mm film leader using the blade of a surgical scalpel. The length of each filmstrip is determined by the distance between points on the artist’s body, such as from fingertip to fingertip between outstretched arms, and bisecting the body along a posterior/anterior axis. During our experience of these moving images, the length of a strip of film becomes a measurement of time as the static marks incised into the black 16mm frames are perceived to be lines of light in motion.

Measure

NR 2017
Crystal World

Crystal World is inspired by J.G Ballard’s apocalyptic science fiction novel of the same name where a viral crystal metamorphoses trees, animals, humans and architecture into frozen jewels forever suspended in time and space. The novel is a haunting portrait of a world in which everything is illuminated by prismatic light, a ‘leaking’ of time that causes humans to experience individual moments endlessly looped, repeated and prolonged. My film adapts this concept of crystallization and applies it to fragments from the 1955 film. I reconstruct scenes from Charles Laughton’s iconic film with underwater puppets, which I then crystallize using ammonium phosphate crystals, time-lapse photography, mirrors, prisms, and projectors. (http://piaborg.com)

Crystal World

NR 2013