Films

Breaking Up Is Hard to Do (video, 4:3, 11 min, UK, 2011)

Imaging loss with emotional resonance, angled from 20th c. transient spaces: shock, anxiety, melodrama as a manageable site of trauma, spectacle, Modernism, Russian Constructivism, building from fracture.

"...as physically and psychically shocking...directly connected to perceptual dislocation and loss of sensory control." [1]

These are arrested, static, moving canvases, temporally flowing yet edited abruptly, like the disturbance of a replayed physical, emotional accident. Each environment is a broken facet of the experience, until the last image gathers a whole, retrieves a narrative.

[1] Weinbaum, Alys Eve 'Ways of Not Seeing, (En)gendered Optics in Benjamin, Baudelaire, and Freud', (2003)



Love Comes In At the Eye (35mm/ cell phone, 3.5 min, UK, 2012)
View: https://vimeo.com/36422188

- Permanent show at Heartbreak Laundrette, London

A re-edit of Cronenberg's 'Videodrome', with new sound




Wild West (16mm, 1:1.85, 25 min, USA, 2005)
Awarded Eastman Kodak Hollywood film grant
Wild West is the story of the US's Great Basin desert, through the eyes of the land, with voice-over from interviews with the late Corbin Harney, then aged 86, Spiritual Leader of the Western Shoshone people, water doctor & anti-nuclear activist; with Rod Rondeaux & Gil Birmingham. 
Dante's Peak, Death Valley
Panamint Mountains dry lake bed, California

actress Lusheia Lenaburg
Kodachrome 71 (HDV, 24 min, Cyprus, 2011)
                                           

Kodachrome, a Super 8mm reversal stock, was in use from 1965 - 2011. By 1971, by my birth year, it was mostly used for home movies, to record brightly coloured 20th century memory moments. Kodachrome alludes to the word chromosome, (from the Greek: chroma, colour and soma, body), which become strongly stained with particular dyes. The film explores aspects of love and concepts of generational continuity; filmed at Aphrodite's birthplace.


We're Not In Minnesota Any More (video, 4:3, 20 min, UK, 2012)
A circular story in four differently-genred acts, connecting times and sites in ordinary and non-ordinary reality, around death.


Tatyana & Vera in 'Underground Forest' aka 'A Woodcutter's Tale'    
(35mm photocine, 3.5 min, USA, 2010) 
A 35mm photocine dark comedy, drawing on the macabre underside of fairy-tales, entangled forests. Stills and flared whites arrest heightened narrative moments.




Mare Mer Mere (16mm, 12 min, USA, 2001)




- Distributed by Iron Rod Motion Pictures, Canada
A girl asleep on a horse, dreams through mesmerising movement; optically printed with superimposition; poem in Arabic














Homecoming (HDV, 7 min, Morocco/ UK, 2010)
3-screen video exploring separation and integration of self. Landscape evokes the psychological states of the characters or mind: being and seeking. Inspiration in part, was from The Awakening Conscience (1853) by William Holman Hunt, reflecting change through action in mid-motion between two points.



MaKing (16mm, 3 min, UK, 1997)
The process of change through dismemberment, forgetting and re-membering; also the artistic process itself