Singularity put forward for Platform 2015 prize

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Ezra Miles, Aya Toraiwa and I have both been nominated for the Platform 2015 prize! The prize, offered by CVAN South East, would enable the winner to receive mentoring support for a year and a bursary of £2,500. Nice!

Ezra and I are graduating from the BA (Hons) Moving Image course at University of Brighton this year. My film, Singularity, is being showing in Room 204 and in the gallery on the ground floor of the Graduate show at Grand Parade at University of Brighton from 6 to 14 June 2015.


Mythopoesis: MA Photography show at University of Brighton


In the foyer outside the cafe at University of Brighton (Grand Parade site) is a car. It’s rear doors are open, inviting you to clamber inside and sit on the old leather seat. As photos of this car scroll across the small screen in the place where the rear view mirror normally is, you can let the old car smell accompany your mind to the car’s past. It’s a vivid way of allowing an object’s past to present itself.


The MA Photography show ends on Friday 19 September 2014.

Presentation of Play In My Flat to Moving Image, University of Brighton 27 March 2014

This film formed part of my presentation of the site-specific play / film / performance of Play In My Flat on Thursday 27 March 2014.

These are the notes I used:


  • written November 2009
  • for 4 characters: Him, Her, PWC and Woman
  • tried to put it on before but didn’t work out
  • success of 2nd year show gave me confidence
  • rehearsed over 5 sessions in prep for filming
  • each scene would be one continuous shot
  • I planned activities for each rehearsal and was open to hearing what the actors needed; often we co-created workshops
  • I realised early on I needed to be able to delineate my roles because I had so many
  • we filmed the rehearsals from the beginning to get the sense of being watched as it was an important theme for the project
  • the fourth wall is broken often
  • we filmed it on 11 March 2014 and I’d like to thank Edmund Lloyd-Winder for his camerawork and observations
  • the final scene was 17 minutes long and I didn’t realise what a big ask it was of the actors until Edmund observed it


  • the first 3 scenes and an edited 4th scene to give you an idea of themes


  • screens were fixed to the walls in the lounge, kitchen and bedroom and room specific scenes were screened in order
  • I’m going to show scenes and photos from the dress rehearsal, Fri night and Sat night in order to compare them
  • we had the camera on a small tripod for the first two shows and on the third Him held the camera and Her held the dictaphone instead of clipboards
  • general theme of confusion introduced at the start by asking the audience what they were doing there
  • Him and Her were dressed in white shirts and black trousers to match PWC. Research on time was pinned to my wall with red string (a loose connection to string theory) connecting points.
  • I’d like to thank Matt for installing and taking down the screens, with a little help from me.
  • Him and Her did not speak during the performance – their aim was to observe – Him observing me and Her observing the audience. My role was to try to work out why they’d come back and why the audience was in my flat.

Performance Friday

  • We decided to play it like we had on the dress rehearsal. The documentation wasn’t as successful as I would have liked – the camera didn’t follow the audience.

Performance Saturday

  • We decided to stage it slightly differently – instead of me coming out of my bedroom, shocked at the audience’s presence, when they’re in the hall I waited until they’d been in the lounge a while. We thought it might create more of a sense of confusion and not knowing what to do. Also, instead of clipboards, Him held the camera phone and Her held the dictaphone as recording devices. We set an intention of bringing the domestic violence theme out more in the interactions, which meant I had to pay more attention to the 4th scene filmed in the kitchen. Because of my personal history with the subject matter, I found this disturbing.
  • We realised that setting an intention allowed certain ideas to be expressed.

Wonder Land


An initial drawing of a map of Wonder Land – adventure playground for grown ups – in preparation for a meeting with Sam of Bee Purple, University of Brighton’s entrepreneur advice centre. I came away with ideas for making a visual business plan and am going to use my independent project, which is the final project of my second year Moving Image degree, to create a model or process map or something that helps me and people who come to see it (so it will be exhibited somewhere) decide whether it’s a viable project. I have another meeting with Sam booked for 28 April 2014.

Sound and vision: where have the puppets gone?


Where have the puppets gone? I visited the second year show at the Grand Parade gallery,  University of Brighton, today and they’re missing. It reminded me of the time my car was stolen; it was as if there was a giant exclamation mark in the space I’d left it. Between Saturday lunchtime and Tuesday lunchtime the puppets have come to life and gone to seek their own way or someone has stolen them, but for what purpose? Just to have them? To play with them? To destroy them? I wonder if they’ll turn up in someone else’s art? And if they do, shall I steal them back?

Sound and vision: Not Punch and Judy: The Chronicle and Story of an Experiment in Emergent Practice

The second year show opened this evening and this is the film displayed inside the Punch and Judy theatre. The film is looped and it doesn’t matter which point you begin watching because you can make sense of the chronicle and the story once you’ve witnessed the whole thing. Friends of mine made the choice to watch from beginning to end, though, after joining it part way through, which I found interesting.

I enjoyed making the theatre knowing an audience would be coming to view it. Knowing the exhibits would be displayed for one week was also appealing. Collaborating with Matt Page on the build was a pleasure and I received help from classmates, Lara (painting) and Edmund (building).

I made the curtains for the theatre by ruching a strip of material to drop down from the pelmet; I fixed it in place with a staple gun. Two straight pieces of material were attached to the sides and the digital image was surrounded by black curtains. I stapled black cloth to the top of the theatre.

A hole was drilled into the front panel beneath the shelf for the headphones wires to feed through. Headphones were placed on white hooks either side of the hole. This invited people to sit side by side to view the film. I noticed if one person sat to watch it they would choose a side rather than sit in the middle. This behaviour makes me realise how arranging objects invites people to use the space.

Matt helped me to put up three shelves, which Justine painted, near to the theatre. I put flower pots with the puppets placed in flower arranging oasis on them. I noticed people seemed immersed as they watched the film.

Sound and vision: creating a character

glueing wool to puppet

The woman puppet, who does not have a name yet (but my flatmate thinks she looks like a “Delores”), is powerful and kind. She knows what to do and has fun and laughs a lot. When she says, “no” people listen and respect her decisions. She protects her child from the father because she can see clearly he is not well; she would do whatever it takes to protect her. She is strong and capable. She has been loved by her parents and she is sensitive enough to recognise and empathise with those who haven’t or, rather, those whose parents’ love was twisted. She believes everyone deserves a second chance.