Genres: Animation

  • Rude Roll

    How-to-dance-ska in one easy lesson or three. Best Animation, Ann Arbor Film Festival, 2003

  • Geometry of Beware

    One-minute of found footage of Mutt and Jeff from 1926 is literally reconstructed via paper prints from photocopies and pen and ink drawings. “Crazy, nifty, funky, fun…” – Michael Hope, Programmer, Cinecenta

  • Deadpan

    Described as “the jauntiest meat-is-murder movie ever made” and “irrational,” “Deadpan” deals with dinner-table angst from the fifties. Laughter is forbidden. Anxiety reigns. Cow tongue is served. What to do? Awards: Funniest Film, Ann Arbor Film Festival, 2002; Jutra Nominee, Best Animation, 2001

  • U-Champs

    Mutt and Jeff rubber stamps, 35mm motion picture, scratch-on-film and Felix the Cat are all combined in a hodge-podge tribute to the letter U.

  • Slippage

    Linda Giles’ installation at Xchanges Gallery in 1998 serves as a set as Susy dances an impromptu piece of choreography. Shot on Hi-8. Black hands of the master printer dare not soil the bride’s wardrobe.

  • All the Great Operas (in 10 Minutes)

    Using Monty-Pythonesque animation, this film serves up the stripped-down essence of the most famous operas in a quick and painless manner, and reveals once and for all that opera has more in common with soap opera and pulp fiction than anyone likes to admit.

  • Letters

    “Letters” explores the transformation of painting through photography and the movement of light as music, text and body language. Formed through a combination of abstract hand-painted film and live photography, originated on super 8mm and 16mm, ‘Letters’ uses extensive optical printing and single-frame editing techniques to draw the material and structural properties of film into focus and create a sense of rhythm, gravity, weight and mass.

  • Fuzzy Lover

    A collage of sampled and recycled sequences of digital and chemically manipulated live video and abstract animation; “Fuzzy Lover” explores the forms that emerge through the interaction of different materials and processes; the problems of authenticity, identity and representation associated with reproduction and the aesthetics of cultural overlay.

  • Root

    A notebook/catalogue of optical experiences, memories and thoughts composed of geometric and organic looking abstract images painted directly onto clear 16mm stock, interspersed with sequences of found footage. My first experiment in hand-painted film-making and optical printing, (painted in 1993 and edited in 2003) exploring the frame-by-frame interaction of contrasting colours, textures and shapes, and referencing Hans Richter’s ‘Rhythm 21’, Len Lye’s ‘Colour Box’, Stan Brakhage’s ‘MothLight’ and ‘The Flicker’ by Tony Conrad. Images from Root were used as source material for my other films Pour, Deluxe, Double, Radiator, SKZCP and Letters.

  • From Memory

    A poetic meditation on time and light, formed through an exploration of the material and illusory properties of paint and film, movement in counterpoint and miniature. Composed of organic-looking abstract marks and gestures painted directly onto film and manipulated photographically using an optical printer.