I consider film as being a place of intersections, where the story of the present collapses into a collapses into a moment of action, light and presence.
For me, filmmaking is essentially performative and experiential. We may be in one place, watching and waiting, but time is always moving, tracked by the ticking of the clockwork motor on my clockwork wind-up Bolex camera.
I observe the comings and goings of the world through my tiny lens, always looking for ways to embody site as material reality (processing with seaweed, tinting with lichen) and return life to the film image. I celebrate process, welcoming small remnants from the experience of filmmaking in place to remain as artefacts, such as sand, hairs and dust. Past in the present, contained in film.
Marks of my personal presence are also retained in the physical film, taking an artisanal ‘hands on’ approach to film creation and development, contrary to the ‘hands-off’ nature and speed of digital image capture. Projection, whether analogue or live digital visuals, are also an integral part of rtist, keeping a sense of my personal presence within the artwork.
Analogue clockwork filmmaking requires choices to be made in the moment, creating a heightened sense of presence, as in the films of Andrei Tarkovsky and Tacita Dean. I am intrigued by the experiences common to the filmmaker and the viewer and how these can be brought more closely together; the way in which we experience our presence in the moment through stillness or action within and across the frames.
My approach is influenced by my experience in performance art and the aleotoric and improvisatory music of John Cage, David Tudor, Charles Mingus and Albert Ayler, where the moment is a place to play, confound and confront preconceptions and presumptions.
Outcomes are open, the final form of the work evolves through the process of its making. I like to share my work and in different contexts, such as projected performance visuals, site specific film installation or cinema. I welcome collaboration with other creative practitioners and specialists from other fields, such as astronomers and archaeologists, and am influenced by the integral extended research processes of Goat Island, Forced Entertainment and others.
My current interests are in the enormity and small details of astrophysics, land and sea environments, and how the micro and the macro are reflected in each other.