News Update

Principle photography for my forthcoming Black Country film almost complete.

Busy working on my MA Thesis (amid long bouts of procrastination)

Very pleased to have had my short “Merry Melodies” screened at Centrala as part of their Points of View International Video Weekend, Digbeth, Birmingham 26 – 27 July

New film “Lost Angel of a Ruined Paradise” just finished – Screenings coming soon

I am pleased to be Co-Curating Light and Matter: Painting and the Moving Image, a group show featuring 8 international artists. Coming to London and the West Midlands October – December 2014…More details to follow.

Guide to Reading Deleuze’s Cinema II: The Time-Image, Part I: Towards a Direct Imaging of Time to Crystal-Images

Originally posted on Networkologies:

An early crystal-image in Welles’ ‘Lady from Shanghai’

[Here's a continuation of my series on reading Deleuze's Cinema I & II . . . ]

If the greatest impediment to understanding Deleuze’s concepts in The Movement-Image is confusion over what he means by the word image, then a similar roadblock occurs in The Time-Image in relation to his use of the word time. Understand what he means by the word image, and Cinema I is a massively easier read; understand what he means by the word time, and the same thing happens for Cinema II.

Bergson’s Critique of Clock-Time

Deleuze’s conception of time in Cinema II is taken almost directly from Bergson, and with Bergson, it’s easiest to start out by describing precisely what time does not mean for both of them. Bergson’s philosophy finds its genesis in the critique of clock time, and in favor of…

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Brief reflections on a difficult year

So the first year is almost over and it’s been difficult.
It would be easy to say that really I have achieved nothing, learned nothing and made next to nothing -certainly what I have made has been without much meaning. I guess everything that I’d hoped would happen before starting the MA has happened. My practice along with my confidence in it has been ripped apart, questioned and generally left in pieces – trouble is it’s very hard to remember that this is a good thing when it’s actually happening to you.

On reflection I feel that my practice is on the verge of becoming much stronger, I am excited about what I’m (admittedly very slowly) making, and feel like it has meaning.

The most important realisation is that NOTHING else matters except the WORK. Everything else is in secondary.

Looking back at all the top artists I have been fortunate to hear/meet this year the one thing above anything else that all share is the professional quality of what they do. Not just the work but everything that surrounds it. Everything is done to the highest standards in order to make the work as good as it can be. It’s simply not enough anymore to have what may be a great piece of work and hope this alone will take you where you need to be. The whole package that surrounds the work has to be as good if not better. A good thought to take into my final year – Be the complete package.

One Photograph #22. ‘Implement.’ by Chris Fite-Wassilak.

Originally posted on Various Small Fires:

90 In July in 2012, I was sitting in a fairly blank off-yellow meeting room. Researching a project taking place in the area around Blackwall DLR station, I had called in to the anodyne-looking business park across the busy roundabout to suss out any empty units, on the off chance that they could be used temporarily. The manager, a kind but no-nonsense older woman, unexpectedly took the time to talk to me. She casually mentioned that she had her own photo albums detailing the history of the park, and I jumped at the chance to see them. I think she was surprised that anyone else would be interested, accustomed to this habit as a sort of quirk of her fastidiousness that she usually just kept to herself. My impression was that she herself had taken all the photos, all of them seeming in tone with her care for attention and order. While I shuffled through…

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