2022: Finalist, Prisma Rome Independent Film Festival, Italy; Fisura Int. Festival of Experimental Film & Video, Mexico City
2019-20: Solo Show [2 films, 20-photo large panel, ink drawings, mask, rattle] ART Gallery Tecopa, site-specific hot springs, Death Valley; curated, TAG Gallery ‘Art + Video’ Los Angeles, USA
Screenings include: Alchemy Film and Moving Image Festival, The Table chaired by LUX curator, British Film Institute London, UK/ 32nd Festival Les Instants Video Numeriques et Poetiques Marseille, France/ Experimental Forum Honorable Mention and  CalArts Expo 2019 Los Angeles, Hazel Eye Film Festival Nashville, Tennessee, USA/ Tlanchana Fest (film & digital art) Mexico
'Aphrodite' https://vimeo.com/295924060 (16mm, 3.5 min, USA)
'Evening Star' https://vimeo.com/284776452 (HD, 20 min, USA)
(16mm, 3.5 min, 2019, USA)
- from a meditation at the Mediterranean Aphrodite temple, ancient site overlooking the sea, considered her birth place: touch & gentleness of women's space as feminist, necessary, healing and contemporary; sound is the voices of water, precognitive, immersive, trance

Evening Star
(HD, 20 min, 2019, USA)
screenshot stills, shot on residency at Art Gallery Tecopa, CA

- a desert hot springs bathhouse at night under Venus, in her Evening Star aspect: water, static and grain allude to love and sex as dissolving principles; formal landscape as body.
Sound intensifies narrative through liminal space, the approaching stranger, mid-century desert architecture, Modernist abstraction, dissolving the western.

Awards, Screenings, Galleries

AWARDS: Merit Award, Nature Without Borders International FF/ Merit Award for Awareness, Awareness FF, Los Angeles/ Borusan Contemporary Art Prize, Istanbul/ Kodak Hollywood Film Grants (various)/ Audience Award, Smogdance, Los Angeles

2022: Finalist, Rome Prisma Independent Film Festival, Italy; Fisura International Festival of Experimental Film & Video, Mexico City
[2021: PhD candidate, Art & Digital Industries, University of East London, UK]
2020: Nature Without Borders International FF, Delaware; Arab American National Museum, Michigan; TAG Gallery, Los Angeles, USA/ Alchemy Film & Moving Image Festival, Scotland
2019: Solo show, Tecopa Art Gallery, Death Valley, CA; Hazel Eye Film Festival, Nashville, Tennessee; CalArts Expo 2019, Los Angeles, USA/ Tlanchana Fest (film & digital art), Valle de Bravo,
Mexico/ 32nd Festival Les Instants Video, Marseille; MicroActs (artist film), London; The Table (video art show curated by Mariana Lemos, chaired by LUX resident curator Zaiba Jabbar); British Film Institute Flare, London; Newlyn Film Festval, Cornwall, Europe
2018: Artist Residency ‘Mirroring Resilience', La Maida Institute, LA Dept. Cultural Affairs, Los Angeles; Night of Shorts Shorts, Hollywood, USA
2017: Solo Show & Residency, Art Gallery Tecopa, Death Valley, CA; Award Winner, Awareness Festival, Los Angeles, USA
2016: Elephant Art Space; Emergency INDEX, Los Angeles, USA/ Gazelli Art House, London, UK
2015: movingImage - Borusan Contemporary Art Prize; Nitra Gallery, Thessaloniki; Thessaloniki Biennale 5; Art Athena, Greece; Steiner House, London, Europe/ Tecopa Art Gallery, Death Valley, CA, USA
2013-4: Streaming Festival, Audiovisual Art Event; Vibe Gallery, 'Boundless', Southwark Arts Council; Lethaby Gallery, London; ONCA Gallery, 'Making Tracks', Brighton; Outcasting, Moving Image Network, Cardiff, UK/ Platform Gallery, 'Cutting An Assemblage', Canada
2012: Vegas Gallery; Heartbreak Laundrette (permanent space); East End Film Festival; Fringe! Film Festival; London Underground Film Sessions; V22, London; Girls On Film, Manchester, P'Silo Image Contre Nature, Marseille; Cheries-Cheries 18, Paris, Europe
2011: East End Film Festival; Whitechapel Gallery Open Screening with Gil Leung; Rich Mix; Fringe! Film Festival; London Underground Film Sessions; Portobello Film Festival; 13 Moons (Indigenous Film Screenings at SOAS, UCL); Conference: Revolting Bodies, Politics & Gender, Brighton University; 24th Festival Les Instants Video P'Silo Images Contre Nature, Marseille/ Oslo Queer Festival, Europe/ The Garage (relational space), San Diego, USA/ Patrick John Mills Contemporary Fine Art Gallery, 'I Am Not Afraid', Ottawa; Pride, London, Canada
2010: Native Spirit Film Festival at Amnesty International/ Directing4women Film Festival/ London Underground Film Festival/ Rich Mix, London, UK
2007: Autobody Fine Art, Alameda, CA, USA/ Shunt Gallery, London, UK 
2005: Echo Park Film Center, Los Angeles; EarthVision TV, Santa Cruz, CA; Freedom Cinema Festival, Park City, UT, USA
2004: ImageOut Film Festival, New York, USA/ distributed by Iron Rod Motion Pictures, Toronto, Canada
MoMA, New York; distributed by Vanguard Cinema, Los Angeles, USA/ British Film Institute, London, UK
2001: Philadelphia Arts TV; MOCA Open Screening; actionSpace (gallery), Los Angeles, USA
Distribution: Iron Rod Motion Pictures, Canada; Vanguard Cinema, Los Angeles, USA

Residency, La Maida Institute, Los Angeles

'Healing for cattle, as hooves bring up underground water & horns bring down rain, so they flow & move together again remember each other'
performance with Hummingbird Sage calling Rain [mask: linen & black walnut; rattle: mesquite beans & reeds]  

Solo Show & Residency


Water, John Protevi, speech held at the International Conference “Gilles Deleuze – Texts and Images”, South Carolina, April 5-8, 2007

Hypersea: life on land, Mark A.S. McMenamin and Dianna L.S. McMenamin, New York: Columbia University Press, 1994 

The General

(HD, 22 min, Turkey/ USA, 2015)

A tragicomedy filmed in Turkey at different historical sites: Scheherazade enacts the role of 'The General' throughout, tentatively exploring identities formed within the 'general population'. Film history & theory references, lovers' poetry, YouTube stereotypes, cinematography & scene reenactments navigate constructed political ideologies during evolving times in site-specific stories.

"The underlying assumption behind political conflicts that did not lead to repression and oppression of those disputing orthodoxy has always been the belief that people could be convinced to join a side with ideas and arguments. The representational politics of the past was about convincing people that certain political ideas and policies supported their interests. Identity politics is now claiming that our identities, not our reason, determine our opinions, interests and the political platforms we should be supporting. If our identities determine our interests and our identities are based mainly on the demographics we belong to, or specific identity related experiences, the possibilities for compromise and for convincing others belonging to different identity groups, through ideas and reason, will become extremely limited."
('Universalism and the Courage to Change Society', By Christine Louis Dit Sully, 2018)
Trotsky's home in exile on Buyakada Island, Istanbul, formerly home to the Ottoman Chief of Secret Police

At the Center of the World

https://vimeo.com/165698195 (B&W, HD, 9 min, Los Angeles, 2015)
Winner of the Borusan Contemporary Art Collection Prize at Moving image Istanbul press: https://www.cihan.com.tr/en/moving-image-istanbul-celebrates-record-attendance-borusan-prize-1884126.htm
permanent collection at Gazelli Art House, London; made for Thessaloniki Biennale 5

        Close ups after Dreyer's Joan of Arc: the exquisite, emotional, black & white face turns towards & away from the camera frame                                                                                                                                                                                                 video stills



(HD/ HDV, 35 min, UK/ USA, 2013)                                                                                                
View: https://vimeo.com/67720190                          
18 dreams describe psychological and external events preceding an accident. Chance, fate and consciousness connect with ordinary reality, in a nondiegetic semi-narrative film about film and perception.
"...elements of narrative and acting arouse the spectator's psychological participation in plot or scene while at the same time distancing the viewer by disallowing empathy, meaning and closure; an image of the disassociated sensibility or 'double consciousness' praised by Surrealism in its critique of naturalism..."
        Lethaby Gallery, London

more 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

actor 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 partly 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.

Installation: Journey Under Lock and Key

Journey Under Lock & Key ('sick room' installation comprising drawing, video, embroidery and painting for Shunt gallery space, London, 2007; also shown at Autobody Fine Art, Alameda, CA) - created over 2 years.
Bear (pencil on paper, height 6')
- Sold to Steven Spielberg's Art Director for Disaster Sequences

Polar Bear
Ice princess
Video loop for monitor - 4 mins

Embroidered comforter, details, cotton thread on brushed cotton fabric

Middle part of embroidered double comforter

Pots with Ancestor and Aloe
Girl and Three Calderas