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A meditation on death, as experienced through a lifetime of images. “A man sets out to draw the world. As the years go by, he peoples a space with images of provinces, kingdoms, mountains, bays, ships, islands, fishes, rooms, instruments, stars, horses, and individuals. A short time before he dies, he discovers that the patient labyrinth of lines traces the lineaments of his own face.” — Jorge Luis Borges
A portrait of open-air theaters documented under the strange light of day, emptied of the once present hum of human voices, radioed-in soundtracks and tires on gravel. Scripting the landscape and exploring the residue of a cinematic history, The Broken Altar forms a sculptural treatment of the architectural artifacts of these abandoned spaces: speaker boxes rise from tall grass like grave markers and the screens themselves are monumental, sepulchral in their peeling whiteness.
A day at the fair in Paris. Machinery, bodies, movement. An ambulatory collection of images with the kinetics of the mechanical amusement park and the people therein revealing a metaphor for life and death.
The video connects Irish ghost estates, a Hollywood film shoot in Glasgow and two misplaced mosaics in Edinburgh, by using elements of a living room. The room is inhabited by an unreliable narrator who explores facts, fiction and his personal memories whilst telling the story.
A video based on a digitally manipulated photograph that is then transformed through a video synthesizer. The architectural forms constantly fall apart and their changing textures evoke the ephemeral nature of perception.
In pursuit of an eclipse, the citizens of Winnipeg flee the city. Meanwhile, stranded in Tudor Village, the caretaker does his best to interrupt their trajectory and entice everyone to return. Through animation, 16mm footage and found footage, the practices of collage are appropriated to assemble a narrative of place.
Darna, the foremost Filipino female superhero, is an indelible part of Philippine pop culture. In the 70s, as the Filipinos struggled under the dictatorship of Ferdinand Marcos, Darna conquered and ruled the box office. Narda, a country lass, swallows a magical stone which turns her into Darna, a beautiful woman with superhuman qualities. In this novel retelling, Darna wakes up to discover that her magical stone has grown as big as her heart.
Simultaneously tells the intertwined story of three women. They could be the same woman at different stages of her life, sisters, or three separate generations. These stories are perverted modern fairytale stereotypes with no happy ending, of women questioning identity, generation, and motherhood.
Boundary Interactions acts as metaphors for the notion of in-betweenness and struggle. Performances at border regions, particularly between Wales and England, have been prevalent throughout my practice, in terms of geography, language, and the swiftness at which one can switch from being a citizen to being a foreigner.
An experimental documentary capturing the experience of a cyclone through the dislocation of image and sound: Enveloped in noise, residents of Darwin listened, as Cyclone Tracy (1974) destroyed their homes, leaving 41,000 of it’s 47,000 inhabitants homeless. As the deafening noise of the cyclone subsided, they found their lives in ruins and a haunting silence in its wake.
A walk through the primordial landscape of the high desert of New Mexico, down the cliffs to a water reservoir. This is the place where love dies. All meaning is drained from the world, though pure affect drops from the sky.
From the larger body of work – Concerning the Landscape: A Study in Relationships – attempts to create a relationship with the landscape by using aspects of the human developmental stages as a starting point – including innate reactions, mimicry and non-verbal communication. This series of performances focuses on the complications of communication, which is used to visualize reality, the attempt of dialogue, the dissonance between form and content and the possibility for trial, success and dysfunction in understanding. By exploring the concept of landscape in a reactive way, I try to gain a new relationship with the land through empathetic mimicry as well as reactions to its unique attributes- citing moments of relational conflict, understanding, unity, resistance and tenderness.
My works are precarious amalgams of cultural and personal references in which the camera becomes the eye of the viewer. Using the desert landscape as a locus and through a practice of creating idiosyncratic costumes, I perform as many characters, suggesting that one’s identity is in a state of constantly becoming. The desert serves as an inner topography of the mind, rather than one of physical place– a location in which to negotiate fluctuating states of self.