Exploring the relatonship between derelict urban space and advertising hoardings in Norwich

A sonic geography that shows the role of the wind in moving the water from the sea to the tops of the sierras

A photographic project exploring how queer lives move through and leave traces in suburban spaces

A poetic exploration of Derrigimlagh bog, a remote landscape once transformed by technological ambition and now reclaimed by nature.

Middlesex Filterbeds Nature Reserve, Hackney, London, UK Drawing on ecological posthumanism and creative practice as research 'In the midst of rich meadows […]' responds to calls for new ways of paying attention to sites of historic and contemporary human and fellow being entanglements. Through my fieldwork, in which I include off site film making, I hoped to answer the question 'How can creative practice at engender a more ecological approach to heritage sites?'. Rather than ‘fill a gap’ I aimed to add to the emerging body of research calling for an ecological rethinking of heritage that recognises the deep entanglements of nature and culture. Drawing on this, and on the ecological posthumanism that has influenced it, I used creative practice and film making to the call for new ways of paying attention to the world and working with the vibrant entanglements of humans, fellow beings, and the places we all inhabit.

Crawling across a field with a macro lens, we are flung into more-than-human encounters and other ways of seeing

France (no dialogue) Three shores is the portrait of an imaginary river. By crossing it, from east to west, or by making a detour to the south, from red to green, from the undergrowth to the city, to its industrial zone: the film attempts to map the functioning and organization of our society through the time of flowing water. "Each shot is filmed on foot to the limit of its narration, to the exhaustion of the image. This bias interests me to work on the entrances and exits of the field, the micro-events which usually remain invisible. I like to show seeing the landscape while thinking. In any case, this is the feeling that duration can make the viewer experience, when the different relationships and transformations that exist within a landscape are highlighted. And I believe this is the great strength of digital technology, the beauty of relationships. I don't make films to draw conclusions, but on the contrary, to accept things, to listen. Because who seeks finds, as Ackerman said, and finds too well, close to his cliché. With this film, I hope that each viewer will be able to form their own idea of what makes up the life of a river, and of this land use planning."

A film made during 2023 commissioned by Theatre Absolute for their series Project:Public. Rooted in a set of provocations exploring the internal and external in regards to the city and the artistic self. The film uses lens-based and conversational tools for thinking through ideas, paying attention to the human instinct to be in the landscape, seeing life unfold and witnessing with authenticity and openness the city’s surprises, discomforts, and joys. A pair of walking podcasts act as the central journeys, carried out between myself and artistic directors Julia Negus and Chris O’Connell, eventually accumulating in a super 8 film. The film responds to a changing political and economic climate within the urban sphere - the appetite for regeneration and the unknowns which fall onto the cultural sector because of it.

UK Norway, Austria, Chile A ‘spectral index’ is a mathematical image calculation that renders its subject in false colour. In geological prospecting it is used to identify mineral deposits: a technique of mapping terrain for monetary gain. Combining satellite timelapses with infrared drone footage of lithium prospecting sites, and microscope imagery of damaged camera parts, the film considers how this spectral gaze frames our relationship with landscape, both presuming ownership and assuming its future purpose. Mapping has always been a means of circumscribing property, but in the technics of spectral prospecting, the calculation of chromatic values connects directly with a calculation of financial value. The film was developed following a yearlong collaboration with the Horizon EU research project GREENPEG, who were prospecting for lithium-bearing pegmatites within Europe. During this period, I travelled with the consortium's geophysicists to Norway, Ireland and Austria documenting their work and discussing the techniques they used. In my own studio meanwhile I produced satellite timelapses of the landscapes surrounding copper and lithium mines in Northern Chile, and shot microscope footage of damaged camera sensors. While the time spent with GREENPEG generated a lot of footage, very little of it is used in the final film. During the research process it became apparent to me that I was both highly critical of many of the assumptions that are baked into energy transition, and that my interest was in the planetary scale of the problem. Making a documentary style film about a single scientific project would have failed to address this scale, and unjustly targeted the critique at scientists whose motivations are fair. Spectral Index therefore focuses on the systemic aspects of the imaging techniques used, and the profitability calculation that they enable.

Hunza Valley and Kech Pakistan Balochi with English subtitles The film shows how the filmmaker is pre-occupied in his subconscious, he is constantly entangled with thoughts of his identity in addition to the circumstances he is living in. As film progress he goes home, to seek peace. The film is a documentary, fictionalized by following the cinematic tradition of filmmakers from French new wave like Alain Resnais, Chris Marker and many more. The film's self reflective and self referential nature qualifies it as an essay film. It contextualizes the motif of mountains and barren land in very new and fresh way. The visual and the sound is dialectically juxtaposed for the subject who finds peace in the unrest and restlessness in a peaceful place. The film is visually divided into two parts, initially filmmaker where he is struggling to attain peace in mountains. Overall, composition of the frame is very dynamic. Whereas the framing in the end portion is completely different, almost opposite of it. In sound design, gunshots were added to enhance the mental disturbance of the filmmaker. The goal of the film was to show how human beings are being normalised into conditions which are not appropriate to live in. The conflict of sub conscious and existing reality of filmmaker about where he belongs. "I think experimental film making was key point for me to work on this project and its techniques. When I was filming in my hometown, security threats were something which made me think twice before opening my camera to shoot. Because we can't openly film there, states operatives always try to impose their narrative and poses a real threat to life for example forced disappearance, and being abducted. These ground realities were highlighted."