ARTISTIC PRACTICE

My artistic practice grows from relational curating: an approach in which filmmaking becomes a way to convene people, places and forms of knowledge. Working across moving image, performance, participation and interdisciplinary research, I develop socially engaged projects through dialogue, shared authorship and situated encounter. The work moves between analogue and digital film, collective processes and independently authored projects, asking how artistic methods can produce new relations, perspectives and public imaginaries.

My artistic practice grows from relational curating: an approach in which filmmaking becomes a way to convene people, places and forms of knowledge. Working across moving image, performance, participation and interdisciplinary research, I develop socially engaged projects through dialogue, shared authorship and situated encounter. The work moves between analogue and digital film, collective processes and independently authored projects, asking how artistic methods can produce new relations, perspectives and public imaginaries.

My artistic practice grows from relational curating: an approach in which filmmaking becomes a way to convene people, places and forms of knowledge. Working across moving image, performance, participation and interdisciplinary research, I develop socially engaged projects through dialogue, shared authorship and situated encounter. The work moves between analogue and digital film, collective processes and independently authored projects, asking how artistic methods can produce new relations, perspectives and public imaginaries.

SELECTED PROJECTS

Two participants shaking hands during a collaborative gathering

01 The Deep Council Series

An ongoing series exploring how dialogue, encounter and collective thinking can become artistic material. Each Council develops bespoke methods—from karaoke to tarot—across Deep Ecology, Deep Energy, Deep Esoteric and the forthcoming Deep Erotic.

02 Brent Biennial

Selected as an artist, through Forms of Circulation, for Brent Biennial 2025: Bones, stones and calling the four elements, curated by Annie Jael Kwan. The project presented 16mm film alongside participatory work shaped by place, ecology and collective practice.

Brent Biennial 2025 identity: Bones, Stones and Calling the Four Elements
Malcolm X title frame from One Day the Sadness Will End

03 One Day the Sadness Will End

A collaborative project with Declan Clarke bringing archival, political and cinematic material into dialogue across online, print and live contexts in Manchester and Berlin.