I use the same principles to make films as in all my practice – scavenging, recycling, juxtaposing and layering to create experimental non-narrative work.
Mere Dreaming, 2015
A body of water sleeps, hypnotised by its own depths. A path echoes with all the footsteps that have crossed it. Trees quiver in reflected light. A film made from observations gathered over time, in the same places. Sifted and sorted fragments, memories; like a dream.
Your mind slips in and out of now; attention wanders, memories crowd in. Through the layers of then and now things become distorted. The mind is a wanderer, drifting far beyond the confines of the real world. As you look up, out into the night, you wonder: how can I be here and yet still be moving?
Prelude to Falling, 2012
This film is an interlude. It refers to (and should perhaps occupy) gaps between this thing and that thing, this moment and that moment; signifying a pause, a momentary lapse, a brief moment of interiority. Its focus is introspective, while at the same time occupying itself visually with the infinite focal distance of looking up into the sky. The title alludes to a cusp, a moment before an event rather than the event itself, where all is possible. Falling asleep, into transfixion, dream or simply that moment where time elongates… falling from a step, falling from a great height. All of these things are possible.
When the Mountain falls into the Sea, 2014
How do you tell the calm from the chaos?
An Experiment in Looking, 2013
Watching, waiting. Pushed beyond its natural limits the camera’s eye roves, blurs and focuses again. What is ‘seen’ is just this – the effects of light, space and lens operating simultaneously at a given moment in time.