Trial by Air
(2012, 10min 45sec, colour, sound)
Third part of in a conceptual film cycle inspired by Terrasson’s Sethos and the monumental architectural designs of Étienne-Louis Boullée. View images for Trial by Air.
(2012, 5min, colour, sound)
Portions of the film have been subjected to natural decomposition, double-projected and inter-woven with found footage. The film is set to an untitled poem written and read by Ian Harker. View images for Composition.
Trial by Fire
(2008, 6min, colour, sound)
The meditative first part in a conceptual cycle intended to be projected over three walls. The film is shot on Kodachrome Super 8 film and refilmed as a composite image.
Thomas Tallis – Spem in alium/Oxford Camerata conducted by Jeremy Summerly
Reflections on the Brave New World (Split-screen version)
(2008, 10min, 16mm found footage, hand manipulated Super 8mm film, collaged sound & live intervention 8 transferred to DV)
In 1962 shortly before his death, Aldous Huxley author of Brave New World addressed an audience at Berkeley CA with a speech entitled ‘The Ultimate Revolution’.
He reflected on the advances made since the publication of his prophetic novel in 1932 and contemplated the nature of control in advanced democratic societies, where technology plays an increasingly centralised role in the regulation of body and mind.
‘If you can get people to consent to the state of affairs in which they’re living…the state of servitude the state of being, having their differences ironed out, and being made amenable to mass production methods on the social level, if you can do this, then you have, you are likely, to have a much more stable and lasting society. Much more easily controllable society than you would if you were relying wholly on clubs and firing squads and concentration camps.’
Reflections on the Brave New World is a response to a recording of the Huxley speech and was performed live as part of EXP24′s night for Leeds International Film Festival in 2008. The work consisted of a prepared film loop edited to a soundtrack using found footage and hand processed Super 8 film. This was synchronised alongside an educational 16mm film featuring an earthworm in preparation for dissection. Confrontational with the interplay between the two images side by side on screen, the piece is suggestive with both the specimen of the earthworm and the face of the woman undergoing external manipulation. Portions of the original voice recording could be heard along with live audio interference and selected readings from Herbert Marcuse’s One Dimensional Man.
(2006, 6min, colour, sound)
Based on a discarded workplace training video, the loop replays continuously, losing information on each cycle. The repetition and shift between video formats slowly degrades the image; the worker is trapped by the screen; condemned to repeat the same menial task over and over again in perpetuity. Finally the image breaks down into its component parts leaving only residual noise and abstraction.
(2007, 12min, colour, sound)
The film was shot clandestinely after a number of unsuccessful attempts in a busy urban shopping centre. Shot on Kodachrome 40 at 54 frames per second, the film attempts to draw parallels between the methods of mass persuasion employed by advertisers and the entertainment industry and the politics of fear employed by governments and terrorists alike. Heavily influenced by William S. Burrough’s ‘The Electronic Revolution’ it has been shown as both a conventional film and as an immersive sound installation using multiple audio sources from carefully placed tape recorders.
3 Minute Meltdown
(2009, 3 min, colour, sound)
“24-hour car crash culture careering headlong towards apocalypse.”