My videos centre around differing materialities, and the apparatuses used to engage with them. I play with the tension between the flesh, cardboard, paper and glue used to create my video worlds, and the cameras and editing software used to capture and represent the materialities of those worlds. Contrasting the physicalities of the sets and props I make, with that of the actors within those sets, viewers must navigate the representation of a multitude of materialities, all of which are ‘real’ and yet also ‘unreal’.
What happens to these different materialities when they are mediated by digital technology?
Do they become more realistic?
Are they more potent as imaginative triggers?

To answer these questions, I focus on projects that are historical in subject matter. Just like the digital world that we interact with every day, the representation of History exists between virtual and material space. On one side there is the human imagination needed to conceptualize the past, and on the other side there are the historical artifacts left from another time.
My videos are an attempt to draw attention to the role media (in their varied, technological and non-technological forms) have played in structuring our understanding of the past, and of generating historical knowledge more broadly.
What kind, and how much information do we need for historical facts to be believable, or to become “real”?
Where is the line between historical fact and historical fiction?
Do current representational technologies make it easier for us to imagine pasts and futures?