|I admire comics, fairy tales and religion for their ability to make digestible awkward truths, my work as an animator has evolved into a forms of narrative painting sometimes with an added animation and a performance element. |
Technology is now an extension of ourselves, we have to face up to it,
artists have always used the technology available at the time. It allows us to
show things that may not be possible otherwise. To seek emotions ideas and expressions not yet found.
A touch of irreverence is a part of what I do, after all, we are becoming more and more aware that we are living on a tiny dot in a huge and unexplained universe. It is all really an attempt to connect with
Using an improvisational approach reflecting the processes of making stop-frame animated films; collages build into narrative and animated figures who's scales are governed by a secret law govern these worlds.
When my first animated films were shown on television in the 1990's reaching thousands of people I was thrilled, it felt like the last frontier; we didn't have the internet in those days and it was exciting to reach out past the walls of an art gallery.'
Collaboration is the holy grail, when you collaborate you completely expand the process. I have enjoyed collaboration with many artists, such as singers Peter Murphy and Edward Tudor Pole, performance artist Rose English. And more recently photographer Rinat Grigori.
My visual art was selected twice for The New Contemporaries exhibition, in which I was also a prize winner; I have exhibited, amongst others, at Wellcome Collection, and District of Columbia Arts Center USA, in 'The New Future' with two other artists focusing on issues of science and space. I also showed in a touring exhibition 'Dear Christine,' funded by The Arts Council of Great Britain, which opened at Vane Art Gallery, Newcastle, UK, and went onto the Elysium Gallery in Swansea, Wales. My performance (as video) and visual art will feature in the 2021 Venice Biennale.
My avant-garde animated films have been screened internationally and on UK television; winning the Grand Prize at Zagreb International Festival of Animated Film, The Time Out Film Award, and Best Debute Animated Film at the British Film Awards, their stories noted by mythographer Marina Warner they are a part of the BFI Collection.
Currently showing in Apocalypse Biennale which marks the 2021 cancelled Venice Biennale by celebrating the art of the Apocalypse: revisiting Albrecht Durer’s 15th Century woodcuts and showing new work from contemporary European artists.
2020 - Was a part of Dear Christine (a Tribute to Christine Keeler), Arthouse 1, London, Elysium Gallery, Swansea, UK. 2019 - The inaugural Wales Contemporary Exhibition, showcasing painting, drawing and original prints by national and international artists), Waterfront Gallery, Wales, UK Mall Galleries, London.
Installation and video work:
In 2007 I embarked on the '6 Days Goodbye Poems Of Ophelia' project. The project is a living painting in bacteria, a re-telling of the story of Ophelia's death depicted in John Everett Millais' oil painting; seeing her death as a form of beautiful transformation a return to the land. The work uses the movement of live bacteria for animation and was created in a sterile laboratory,(commissioned by The Wellcome Trust, science by Dr Simon Park), the poetic soundtracks to the animations, created by the public with some of the international poetry soundscapes are still in process.
Flatlanders (2007), an animated video installation premiered in Guildford Cathedral alongside a debate which included, herself and physicists Dr Brian Cox and Dr Jim al Khalili, 'Is Science The New Religion?' The work referenced the ancient Greek character of Themis, in connection with the launch of the epic experiment at CERN, incorporating sound taken from the The Large Hadron Collider (LHC), the world’s largest and most powerful particle accelerator.(thanks to Milton Mermikides for sounds).
Jowonder And The Psychic Tea Leaves, is an audience interactive performance in the manner of a mock Victorian Séance; using humor as a central device, incorporating improvisation. A chosen member of the audience drinks a cup of tea -and the process unravels. Some venues have been: St John on Bethnal Green, Cabaret Futura, Courtyard Theatre and End Of The Pier Show, live music chronologically thanks to: Billy Smith, Jowe Head, Ansuman Biswas and Andrew Hedges.