‘Keep looking through the camera, for a long time, the world falls apart…beautifully and darkly.’
(Michael Maziere, The Solitude of a System, The Undercut Reader, 2003)
My practice predominantly utilises 16mm film as a medium in which to explore the materiality and temporality of the moving image. I am particularly interested in notions of ‘interstitial space’ – or rather spaces that may exist between moments in time; between lightness and darkness; colour and the monochrome; sound and silence or visibility and invisibility.
I have been exploring ideas of the street framing imagined existences, rhythms within the everyday as moments of transcendence and the ways in which photographic processes can reveal previously unseen truths through the interruption or erasure of an image or fragment. Early influences on my practice were Henri Lefebvre and Guy Debord’s concepts of the moment or situation. Methodologies that I employed to try to reveal similar points of ‘awakening of consciousness’ within the moving image were either the punctuation of the image through introducing physical marks to the film’s surface or the application of a sound composition derived from the structure of the original filmic image.
More recently, I have been investigating ideas of abstraction and reality through readings of Malevich and through the exploration of early cinematic effects such as the use of travelling mattes, filters and optical printing techniques to combine coloured elements and monochromatic scenes within a single frame. By introducing process to the filmic image, I want to question the reality or truth of mediated imagery, the ‘imaged versus the imagined space’ and ideas of linearity within prescribed perceptions of time.