An experimental filmpoem about side-stepping death. The style of filmmaking was inspired by the Materialist/Structural elements of Peter Gidal's experimental film, Key (1968).
always carry a camera (2018)
Three-channel film installation, looped. Super 8mm film transferred to HD digital. The split-screens in this version represent the three external screens of the installation.
always carry a camera aims to challenge peripheral and central vision in order to evoke an intersubjective phenomenological experience. This filmpoem also seeks to evoke multi-sensorial memories through film form, such as camera movement, editing and superimposition to engender an embodied experience for the viewer. The title, always carry a camera, comes from a rather artful message on the side of a 1960s 35mm panchromatic photographic slide box, which persuades us to look more closely. This version of the film incorporates no voice in an attempt to challenge how metaphorical connotations can resonate through the abstract images and soundscapes alone.
Single-channel installation, looped. Super 8mm film transferred to HD digital.
Imprint is a filmpoem loosely based on the psychological term for perceptual learning, which suggests that our perceptions change and adapt to the environment either through experience or practice. I am extending this concept to include how we perceive our own memories and sense of self. This film is also part of my doctoral research, which explores the phenomenological potential of the filmpoem. Through my own film practice, my research seeks to understand how the filmpoem can create a sense of embodiment for the viewer. Imprint attempts this through haptic and tactile images and soundscapes. The film is based on a poem I wrote seven years ago. This version has no voice, but it is hoped that the metaphorical connotations resonate through the images and sounds to emphasise how the sense of self-perception can change over time.
The Essence of Place (2017)
The Essence of Place was completed as part of my artist residency with the RSPB Scotland, Loch Lomond (in collaboration with SGSAH). The RPSB’s brief was to engage a new audience to the reserve (and to the wider concerns of conservation) through artistic means. The concept of this film aims to connect place with the human body and consciousness. How can we embody the landscape? It presents nature and the wildlife within the reserve through seasonal changes, in an effort to evoke memories and experiences we have of certain times of the year and to remind us how fragile nature can be. During filming at the reserve, I met many people who shared with me their experiences and memories of the RSPB site. Most significantly, why the landscape was so meaningful to them. The poetry focuses on how we can adopt place, as a concept and a physical presence, as a means to connect with memories. The audiovisuals not only demonstrate, through film form the relationship between concept and the representation of nature and conservation, but also, in terms of my phenomenological research prompts reciprocity and reflection by the audience. The Essence of Place was exhibited outside, on a giant screen in the landscape of the RSPB reserve on the 21st October 2017.