1998 - Born in Bedford, UK
2016 - BA Film Practice at London College of
Communication, UAL
2024 - MA Artists’ Film and Moving Image at
Goldsmiths, University of London
starring - Sarah Cleary and Hazel Branfield
d.o.p. - Jamie Thornham
media - MPEG-1 video in a matroska container
software - Pd, GEM, FFmpeg, Kdenlive
runtime - 10 minutes
Network Topology, a means of mapping the structure of computer networks, is transposed into a film grammar through the appropriation, digitisation, and recombination of montage techniques drawn from early cinema, structuralist film, and analogue video art. The film is a superimposition of superimpositions (just as the internet is a network of networks), and a record of two transgender women attempting to find connection.
All software used was free and open-source. All hardware used was second-hand.
Jul 2025 - London Permacomputing Club presents: Computer
Movies, screening at SET Peckham
Jun 2025 - Haptic Eye, screening at Lewisham
Arthouse
Jul 2024 - Artists’ Film and Moving Image Degree
Show, installation at Goldsmiths University
Mar 2024 - Wolf Mad Mad, installation at
A.P.T. Gallery
media - Stereoscopic Digital Video on Nintendo 3DS, NFC tags, Print
Installation of three short works of digital video transcoding, the process of decoding one digital video format and encoding it as another. An attempt at changing the materiality of films as a means retaining their function.
Visitors could tap their phone on one of the NFC (Near Field Communication) tags to interact with view and interact with the artwork on a website.
‘Collected
Praxinoscopes’ (Émile Reynaud, c. 1877)
‘L’arrivée d’un
train’, 3D self-remake (Lumière Brothers,
1895/c. 1935)
‘Akt-Skulpturen’
(Oskar Messter, 1903)
Jul 2024 - Artists’ Film and Moving Image Degree Show, installation at Goldsmiths University
media - H.264 Webrip of Red/Cyan Anaglyph Scan,
transcoded to Stereoscopic M-JPEG
software - FFmpeg
hardware - Nintendo 3DS
It is a favourite (likely apocryphal) story of film historians that audiences in 1895 ran from their seats when they saw the train on screen coming towards them. Lesser known is that the Lumière Brothers remade the film in stereoscopic 3D in 1935, and that audiences were, once again, claimed to jump out of the train’s path.
By placing the film on a Nintendo 3DS, a game console that can display 3D images without the need for 3D glasses, ‘L’arrivée d’un train’ moves away from the reified object it has become, and regains the novelty it once held.
media - H.264 Webrip of HD Scans, transcoded to 216
Colour Websafe GIFs
software - FFmpeg, Vim, Firefox
Despite over a century of cinematic development since Émile Reynaud’s invention of the parxinoscope, Steve Wilhite’s invention of the gif proved there was still an audience for funny little moving pictures. Again with 30 years of advancement in digital video compression, the emergence of the animated webp format shows that same audience still exists.
The work comprises a collection of Reynaud’s praxinoscope animations transcoded into animated GIFs and WEBPs.
media - VP8 Webrip of SD Scan, transcoded to WebP
Spritesheet
software - FFmpeg, ImageMagick, PureData, GEM
hardware - CRT Monitor, Midi Controller
‘Akt-Skulpturen. Studienfilm für bildende Künstler’ [Living Sculptures: Film Study for Screen Artist] (Oskar Messter, 1903) was envisioned as a reference tool for artists, but my first exposure to it was as part of a film festival programme of early shorts projected from nitrate prints, where it took on the appearance of an avant-garde film. By transcoding a fragment of the film into a looping sprite-sheet I have changed the piece’s materiality as a means of restoring its initial function.
Initially made in PureData with input from a MIDI controller, this project was rewritten in 2024 using JavaScript so that it could be viewed in a web browser on computers and mobile devices. The figure can be rotated by scrolling horizontally.
media - HDV Video, Presented as a DCP
software - FFmpeg, Kdenlive
runtime - 22 seconds
A short film commissioned by Sarah Cleary, to be shown before ‘Funeral Parade Queer Film Society’ screenings at the Prince Charles Cinema in London.
The film porously recombines images from queer cinema, spanning time, country, industrial conditions, and genre. It shares the goal of the programmer, putting all of these films in conversation.
Nov 2023—present - Funeral Parade Queer Film Society, screenings every month at the Prince Charles Cinema
media - DV presented as H264
software - Kino, Kdenlive
An initial experiment in the superimposition of looped and layered images. The footage was captured through coincidence, and was edited accordingly.
