My work focuses on the way that we come to know cinema
and its histories through video, a format that is full
of deletions and distortions of scale. It uses this
poverty of experience as a critical tool to comment on
the circumstances around the creation, reception and
legitimisation of various histories of film.
After watching a film most of us take away a series of
images, cinematic moments that act as a hinge in our
memories, sticking in the mind long after the vagaries
of plot, character or motivation have been forgotten.
I am interested in the capacity these moments have to
block comprehension or open up meaning for the viewer.
My pieces use clips from films that are already
inscribed in the cultural consciousness, that have a
particular status. By re-editing specific scenes,
removing dialogue and incidental music, my work
suggests that cinematic sense is constructed through
the accumulation of detail rather than the sequence of
The things that interest me lie beyond the action on
the screen: the establishing shots of a scene, the set
design in the back of a shot, in other words, those
linking passages that create atmosphere. Through
various processes of revision, my work picks apart the
relationships between location, sound and narrative
that constitute cinematic genre to arrive at a
different set of meanings.