One of 3 video's for underworlds Barking album. This moving still life was conceived as both a surreal counterpoint to the single's driving techno and in part to the lyric 'There is one bird in my house' recalling a bird that got into my mums dining room, all was tranquil then an explosion of colour and noise ensued as her collection of vintage crockery went flying through the air. The video was shot over 6 weeks in the summer of 2010.
One of 2 commercials for the BBC's today programme. We were given the audio and asked to provide a visual narrative that had a strong typographic element. We decided to use chromatography, the splitting of black ink into it's component pigments, it worked visually and thematically for the piece. Each word was shot timelapse over 10 hours - the rest is...
High speed macro bubbles against a pure white with type. We were working with a depth of field of a couple of millimetres and at speeds of upto 1500fps. There was so much light that the kit was burning and the crew had to wear shades like those 1950's atomic tests... Samples of real type were shot through the bubbles for reference with much magic being added in post by glassworks.
the idea for this video came from the old analogue issue of "a hair in the gate" - a problem from the dim and distant past when everything was shot on film. to me it always looked like it was dancing, i wondered what a digital hair might look like and how the 2 might dance together. working with joost korngold of renascent we took the musical stems from the track and made the geometries move responsively to the sound.
Multichannel installation for the tamatete gallery in Rome. One of a series of films based on emotional responses. Nostalgia is a deconstructed child's music box. A music box was ripped apart, the drum flattened and scanned and the result used to draw a midi pattern, this signal then built and 'drove' a 3D visual interpretation with the play pass highlighted. A multichannel score was composed using only the pattern and the resultant imagery played over 9 screens in a circular room, the film transformed in hue over the 8 minute cycle. Twinkle twinkle little star was chosen in part for it's multinational appeal and in part due to it's subject's relationship to the films theme.