"Parasite pt.1"



Running time: 1:27 minutes


A physical embodiment of fear, a parasite. Part of an installation works.


“Parasite” follows the actions of a person, playing carefree in an urban environment, and the sudden apparition of a disjointed and twitching figure.


Accompanying the film is a sound piece, designed to add to the feeling of anxiety and fear that is exhumed in every day life. Deliberately unnerving, the sound uses low end noise to build an atmosphere and tension.





"The Feast"


Collaboration with Lucy Crump

Running time: 1:18 minutes


From the same collection as "Fracture", this film follows the story of another memory from the same person.


The narrative is that a child is stealing, then eating raspberries, culminating in the child being stung in the eye by a bee and being chased by a swarm.


A distorted and dark memory, documented and abstracted as such.

"Unnatural Forces"


Collaboration with Lucy Crump and Dominique Croshaw

Running time: 2:47 minutes


In this film, all of the equipment and materials were man made. However, even with a manmade force the results appear to have natural connotations. We attempted to reproduce a natural force through an unnatural approach. When doing so we discovered a state of tranquillity, similar to that of being by the sea.

"1 Hour Cellar"


Group Collaboration: Lucy Crump, Becci Brown, Jon Lilford, Tilly Phyall-Davis, Joanne Hooton and Dominique Croshaw

Running time: 8:49 minutes


Seven artists get shut in a cellar for an hour and are given tasks to fulfill. A documentation on how changing environment and decomposing surroundings affect mental state when presented with minimal stimulation. Contains strong language and flashing images.

"Sound Room: Volume 1"



Running time: 7:27 minutes


Video accompaniment to installation works "Sound Room".


This is to be projected onto a variable sized sheet of brushed perspex, and then magnified and mirrored into the surrounding space.


The audio component of this installation comprises of two contrasting musical phrases I wrote and recorded, with the visual counterpart displaying the colours I perceive the notes and musical tones to be.


This project is part of a 4 part series, and the first volume will be showcased at the Kingston Fine Art Degree Show 2015.







Collaboration with Lucy Crump

Running time: 3:58 minutes


The film is an adaption of a performance piece of our own cleansing ritual influenced by the misconception of rituals, especially within paganism and the occult.


The ritual itself was a casting out of attachments related to our physical identity, in order to become ‘one’ universal person. Identity was not important, instead ‘presence’ through actions and sound. The film reflects the performance, in the sense that it was a sensual and engaging experience for the participant.


The loaded imagery, lighting and sound play upon the misconception of rituals through the power of moving image. An image is painted, even though it isn’t what it seems to be.




Collaboration with Lucy Crump

Running Time: 1:54 minutes


Following the memory of a singular person, the narrative is of a small child playing with a balloon. As the atmosphere intensifies, the childs jumping becomes more erratic, culminating in the child falling and breaking his ankle.


Another distorted and abstracted memory, remembered from years in the past and documented as such.



"Sea Waves: Performance"


Collaboration with Lucy Crump and Dominique Croshaw

Running time: 1:43 minutes


The original performance film that led to "Unnatural Forces".

"High Altar"


Collaboration with Lucy Crump

Running time: 3:36 minutes


High Altar is a performative, concept based film focusing on the traces left behind from a place of spirituality.


By placing our own sculpture “High Altar” in the abandoned ruins, we aimed to document the journey we underwent observing the surroundings and entering a meditative state. Throughout the film, the characters are slightly transparent and are able to walk through one another, perhaps indicating that they are undergoing this endeavour at separate times and that time is of no relevance.


Towards the end of the film, the characters both sit down on “High Altar” and are seen to merge into one, “transcendent” being. Meditating and observing the surroundings, the old abbey ruins are seen very hazily overlooking the entire performance.


We aimed to create an almost hypnotic atmosphere with the film, inviting the viewer to participate with the meditative element of the film, and again looking at the idea of certain environments having a trace of the past still living in the modern day.


"Suspended Perception"


Sound installation, site variable.


Running time 2:23 minutes.


This piece was born from my love of the tension and atmospheric suspense built in the audio of horror films.


The viewer is invited to wear the headphones and press play, where upon doing so a sound piece is played which uses the low end "pressure" frequencies found in horror films that are used to build suspense.


I built the sound piece using my own generated audio, and live recordings.


I want to alter someones perception of an otherwise unthreatening environment through the medium of sound.


To listen to this piece, go to the "Sound" page of this website.

"Tower Sound"


This work was exhibited in an exhibition with my sound piece "Hollow in C-major".


This installation was created and built as a 3D representation of my interpretation of sound, and visually based on the forms that occur within my paintings.


There are no attachments holding each crafted tube together, and the size and shape of the installation is variable depending on the sound that is being studied.


This particular installation was on a small scale, but is an ongoing project and something that I wish to create in a much larger environment.



Columns is a piece of work that stands against my paintings of synaesthetic experience, to take away the conscious and metaphorical element of human perception and reproduction in painting.


I wanted to create an immersive experience for the audience, as synaesthesia is not a widely experienced phenomena. 


This is of course only a metaphorical exploration of the synaesthetic experience, of quite literally seeing sound and how it interacts with colours, but the audience responded in a very positive way.


Go to the video section of my website to view a small preview of the piece in action, there's a full video on the way soon.




A physical embodiment of fear, a parasite.


“Parasite pt.1” follows the actions of a person, playing carefree in an urban environment, and the sudden apparition of a disjointed and twitching figure. Accompanying the film is a sound piece, designed to add to the feeling of anxiety and fear that is exhumed in every day life. Deliberately unnerving, the sound uses low end noise to build an atmosphere and tension.


The wire "living" sculpture behind is to represent fears moving through our lifetimes. Designed to look parasitic, the piece will be clinging to a dark corner with falling salt weaving through the intricate wires and sheet inside, and making its way to the exit, where it falls meaninglessly on the floor. When the salt runs out, the piece will stand as a sculpture. 


The salt that passes through the sculpture is a metaphor for preservation; as fears can be present or “preserved” for entire lifetimes. But also, a cleansing agent for the “Parasite” as the more times it passes through, the more it corrodes and strips away.


This work is to be continued.



This project is entitled “Nightmare”.


It was a look into the subconscious thought train, something I’ve worked on before and something that is still present in my current work. I think it will be for some time. The work was set out in an installation, with a book containing the thought process of slipping into the subconscious I wrote over the space of 4 months.


The idea of this was to make the experience of the piece the nightmare, rather than simply looking at it from a far.


Disjointed and disorientating, the words in the book piece together to form the narrative of falling asleep, while attempting to trick the brain into slipping slightly into the subconscious.


The nightlight was used simply as a metaphorical representation of night time.