My videos centre around differing virtualities and the apparatuses used to engage with them, playing with the tension between video cameras and editing software and the flesh, cardboard, paper and glue involved in performance and world-building. Contrasting the layered physicality of the sets and props I make, with that of the actor/s within those sets, I ask viewers to navigate strata of representations, all of which are ‘real’ and yet also ‘unreal’, some asserting themselves as more legitimate, while others negating that legitimacy. The conceptual back and forth set up between these semiotic strata aims to complicate ideas of immediacy and contingency, digital witnessing, and the privilege of photography to act as an archival process.
For this reason, I am particularly drawn to projects that are historical in nature. Just like the digital world that we interact with every day, the representation of History must move between virtual and material spaces — the human imagination and the concrete artifacts left from another time. My videos are an attempt to reconnect the physicality of a time and a place (as well as the bodies of the performers) with a historical imaginary by layering the re-created temporality of the events depicted, and the moment of viewing. Additional Historiographic layers add complexity when source material I draw from (for example, plays and pamphlets from specific historical periods) are themselves, re-tellings of historical events. By muddying the waters of historical representation I offer no stable ground on which viewers can make concrete judgments about historic facts, or the methods and media employed to insert those facts into graspable narratives.