A manuscript, an archaeological site, an archive, a building, a life that has slipped from view: these are the things that pull me in.

I make poetic films and installations from fragments of the past, bringing together photography, archival and historical material, text and sound to create new connections and ways of seeing.

Photography is central to my practice. I often work with thousands of my own photographs alongside archival images, layering and recombining them to create moving images that can become abstract, painterly and immersive. My background in typography has made me particularly attentive to the visual and material qualities of words, and to the ways image, language, sound and rhythm can alter one another.

What keeps me coming back is the tension between what survives and what is lost. I am interested in fragments as much as complete stories: the traces, gaps and ambiguities that emerge when we look closely. I am drawn to human experiences that stretch between points in time, or perhaps were ever thus. As Chris Kraus describes it, “feeling the vibrations between here and there and then and now.”
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My work moves between research and intuition. Close looking and deep investigation are often the starting point, but unexpected associations are part of the process too. I am interested in what happens when historical material is not simply documented, but transformed — from photograph to moving image, from book to film, from fragment to something newly experienced.
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