I work primarily in video and performance. Currently, my work has been focusing on personal experiences and contemporary communication specifically the paradox of technological connection.
The materials I work with in my video and performances are both physical and sensory: moving image, audio, screen print, body, text, emotion, location, and poetry. Each material plays a specific role in communicating the conceptual concerns of the work.
My process begins with intuitive filming and image capture to form a reservoir from which the work emerges. Taking video and audio material without specific intent allows me to explore the emotive framework of my video in post-production. Technically, visual to audio placement is central to my practice. Ambient sounds, distorted voicemails, fragmented speech, music, monochrome vs. colour, human presence and human absence are all carefully arranged. Scriptwriting has also become an increasingly important part of my process, shaping narrative structure, pacing, and scene composition.
90 Days in 10 Minutes
90 Days in 10 Minutes is a dual screen performance video that functions as constant closing credit scene. At the core of the work is a 1960s dial phone, a symbolic device representing disenfranchised grief. The work asks how one grieves a loss that is not publicly recognised or socially validated, and how grieving is often shaped by expectation and judgement. It highlights that grief is a varied experience, extending beyond bereavement.
Throughout the video, I drag and interact with this phone across natural landscapes such as cliffs, forests, and lakes. The phone is visibly outdated and functionless. The mechanism represents carrying something in search of connection, knowing that connection is no longer possible.
The narration and closing song are both written and performed by me, drawn from deeply personal experiences. Through my script writing process, the narration has been fragmented and obscured, while still trying to convey emotional weight.
