At the Center of the World

(B&W HD, 9 min, Los Angeles) in collaboration with sculptor Kalliopi Lemos for Thessaloniki Biennale 5, 2015
Close ups after Dreyer's Joan of Arc: the exquisite, emotional, black and white face turns to and away from camera, the frame
                                                                                                                                                                                                 editing still

The General

A tragicomedy, shot in Turkey at different ideological sites, where the same actress switches roles, but remains The General throughout:
               (HD, work in progress)                          
stills, Trotsky's House, Buyukada Island 

She tentatively reads a Trotsky speech in his opulent, decaying house on the Bosphoros, (once owned by the Ottoman chief of secret police).
As Camille Paglia, she is interviewed in an Istanbul hotel room's liminal space, flirting with the male interviewer, while quoting lesbian Teresa de Lauretis.
In Cappadocia, at the cave dwellings where Pasolini's Medea was shot, she reenacts a scene from that film on the passing of matriarchy.
At Mount Ararat, where Noah's arc is meant to be washed up, she improvises a Michigan Militia character from youtube subverted into an eco warrior, only to realise there are no animals left there.
Finally she walks in silence through an 'empty' mall during Ramadan, with a large gold shopping bag, for capitalism and religion.
A Sufi music subtext scene alludes to the poems of Omar Khayyam, in a discussion between two lovers on the impossibility of meeting, where one prefers day and the other, night. So within ideology itself, The General and general population are binaries, yet within these subjectivities, parts of concepts can appeal, be 'true' and useful temporarily as change.



         (HD/ HDV, 35 min, UK/ USA, 2013)                  

          18 dreams after spinal surgery, describe psychological and external events preceding            
         the accident. Chance, fate and consciousness connect with ordinary reality, in a 
         nondiegetic semi-narrative film about film and perception

            in situ, Lethaby Gallery, London


Kodachrome 71  (HDV, 24 min, UK/ Cyprus, 2011)
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Kodachrome, a Super 8mm reversal stock, was in use from 1965 - 2011. By 1971, my birth year, it was mostly used for home movies, to record brightly coloured 20th century memory moments. Kodachrome alludes to the word chromosome, (from the Greek: chroma, colour, and soma, body), which become strongly stained with particular dyes. The film explores concepts of generational continuity, love and diversity.

Wild West (16mm, 1:1.85, 25 min, USA, 2005)

Awarded Eastman Kodak Hollywood film grant

Wild West is the story of the US's Great Basin desert, through the eyes of the land, with voice-over from interviews with the late Corbin Harney, then aged 86, Spiritual Leader of the Western Shoshone peoples, water doctor and anti-nuclear activist.  

production stills at Dante's Peak, Death Valley & Panamint Mountains dry lake bed, California
in hair & make-up, Lusheia Lenaburg, actress

We're Not In Minnesota Any More (video, 4:3, 20 min, UK, 2012)
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A circular story in four differently-genred acts, connecting times and sites in ordinary and non-ordinary reality, around death.


Love Comes In At the Eye (35mm/ cell phone, 3.5 min, UK, 2012)

A re-edit of Cronenberg's 'Videodrome', with new sound

- Permanent show at Heartbreak Laundrette, London

Breaking Up Is Hard to Do (video, 4:3, 11 min, UK, 2011)

Imaging loss with emotional resonance, angled from 20th c. transient spaces: shock, anxiety, melodrama as a manageable site of trauma, spectacle, Modernism, Russian Constructivism, building from fracture.

" physically and psychically shocking...directly connected to perceptual dislocation and loss of sensory control." [1]

These are arrested, static, moving canvases, temporally flowing yet edited abruptly, like the disturbance of a replayed physical, emotional accident. Each environment is a broken facet of the experience, until the last image gathers a whole, retrieves a narrative.

[1] Weinbaum, Alys Eve 'Ways of Not Seeing, (En)gendered Optics in Benjamin, Baudelaire, and Freud', (2003)

Tatyana & Vera in 'Underground Forest' aka 'A Woodcutter's Tale'    
(35mm photocine, 3.5 min, USA, 2010) 
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A 35mm photocine dark comedy, drawing on the macabre underside of fairy-tales, entangled forests. Stills and flared whites arrest heightened narrative moments.

Mare Mer Mere (16mm, 12 min, USA, 2001)


A girl asleep on a horse, dreams through mesmerising movement; optically printed with superimposition; poem in Arabic

- Distributed by Iron Rod Motion Pictures, Canada

Homecoming (HDV, 7 min, Morocco/ UK, 2010)
3-screen video exploring separation and integration of self. Landscape evokes the psychological states of the characters or mind: being and seeking. Inspiration in part, was from The Awakening Conscience (1853) by William Holman Hunt, reflecting change through action in mid-motion between two points.

MaKing (16mm, 3 min, UK, 1997)

The process of change through dismemberment, forgetting and re-membering; also the artistic process itself


Journey Under Lock & Key (drawing, video, embroidery and painting, Shunt gallery space, London, 2007)

Bear (pencil on paper, height 6')
- Sold to Steven Spielberg's Art Director for Disaster Sequences




Polar bear

Ice princess

Video loop for monitor - 4 mins

Embroidered duvet, details