The Turning of the Clod, 2021
This film was produced during the Autumn of 2021, and contains footage from a reconstructed Romano-British kiln firing that was performed by Skip Greenwood, a friend and historical ceramics expert. It explores themes around burial rites, cycles of material transformation, and the relationship of place to material culture.
Nid oes Bradwr yn y ty Hwn / There is no Traitor in this House
Filmed during a week’s residency at Stiwdio Maelor, Corris, Wales, in October 2021. This part of Wales has been heavily impacted by the slate industry, and some key quarry sites have recently been inscribed as UNESCO sites of industrial heritage. This film focuses on the many abandoned buildings (worker’s houses, pay offices, infirmaries) that can be seen in this landscape. “There is no traitor in this house” was a slogan displayed on striking Penrhyn quarry worker’s houses during the 1900-03 disputes over working conditions, whose demands ultimately went unmet.
Interview at Stone Lane Gardens, May 2021
Interview with Tom Law about my piece Abonos (2021).
Making Abonos (2021)
This film documents the making of the sculpture Abonos (2021).
Woodland trust tree disease fighting fund:
This film was produced in Devon, England, the summer after my graduation.
Wood kiln firing
This film documents a firing of my house brick wood kiln in August 2019. It was edited together from multiple phone cameras' footage.
It was a day and night of community and coming together, gathered around a hearth in which everyone had at least one little object that they hoped to see again, transformed.
This is the film documentation for a collaborative exhibition I took part in, as part of newly-formed artist collective the Guild of Cloth and Sod, at the Steamship Project Space, London, in February 2020. We sought to create a mythologised domestic space, in which we could invite the audience to become part of the project in various ways such as participatory performance, partaking in bread and honey wine, offering iron nails at a shrine and receiving gifts of small clay cups. This film attempts, rather than to precisely document the exhibited works themselves, to capture the fleeting atmosphere "of departure, of plenty, of creative remembrance" shared by the collaborators and those invited to break bread with us.
Cuttlefish Feeding Scenarios (2019)
This film was produced as the outcome of the British Council research fellowship programme I took part in at the Venice Bienalle 2019.
"This short film is intended to show a journey, a narrative record. It was made like a collection, a gathering of artefacts that can be plotted in relation to one another, curated, to reveal the arc of a journey, in a particular place, at a particular time."