My practice takes an interdisciplinary approach to explore a diverse range of issues related to notions of location/dislocation, evidence of being and place within the concepts of time and transience and the structure, space and content of film, photography and processes of image-making. Investigations into what defines or determines a state of being, of what constitutes national & geographical ‘belonging’ are informed by my cross-cultural identity and an interest in post-colonialism and cultural hybridity in general.

My inquiries are explored in a diverse range of media, although experimental film and photography have been the basis of much recent enquiry, especially an exploration of the material aspects of film and its historical context. I am currently undertaking a research degree in 1970’s British experimental film as part of a project at The University of Portsmouth.

In my work with film the relationship between content and structure is explored with specific consideration given to aspects of recording, processing, editing and presentation. Photography forms an integral part of the process of image-making especially the considerations of still to moving image. I work with both celluloid (Super 8 and recently 16mm) and digital film and am interested in how these two very different ways of working intersect and can support, disrupt or alter one another. Black-&-white Super8 film is hand-processed and this brings to it an element of chance or a space where things can possibly ‘go wrong’ – I have found this to be the most interesting aspect of creating a dialogue between image and structure that insists on some given measure of subconscious working. The dialogue between cine and digital film has been explored in various films, where the essential concern has been the use of narrative/non-narrative to explore the structural qualities of film-making and story-telling. With pace, looping & projection the presentation (as installation) of the film becomes integral to how it is read.

Perhaps it could simply be about the logic/non-logic of vision and perception and how what we perceive in the world is so much of what we bring to it at a given time.

Or as Malcolm Le Grice so eloquently states:

                        However I do it, my perceptions are constrained by my capacity

                        to engage with the world.  

                                                                                                          February 2007

from Tea with Maya solarised
B & W photograph (2006)

designated position Di A-Z 
performance, 2002
Cape Point, South Africa

from the frameless distance (work in progress)
black & white photographs 2007