I’ve got a whole batch of prints ready to put on order, which you can see below
All £40 each excl. postage – except for no. 4 which is £50 due to the smaller run
These will be unframed Giclee prints in editions of 5 (except no. 4) : signed, dated and numbered.
If you would like to pre-order one please contact me at firstname.lastname@example.org and quote the corresponding number(s) next to the print(s) you would like
After much delay I’ve now uploaded a collaboration from a few months ago, which was the documentation of Sam Kastin’s A Play for the Garage.
We discussed the filming of the play beforehand and were in agreement that it should attempt to capture the rawness and awkwardness of the live event, which was achieved by using Lars von Trier’s Dogme ’95 manifesto as a reference point. Editing was kept loose with a focus on the gesture, time and space as opposed to a flowing narrative structure.
You can view it here now. I hope you enjoy it + feel free to leave comments on the vimeo page.
So I’ve been slogging away for a while now on a new film, using my freshly telecined rushes. I have to say it’s starting to grate a bit, but hopefully it will surface soon. Sound is proving the most perplexing, which unfortunately means that there is no chance of it magically crystallising into the form of a finished film..just yet. I think I may have exhausted my library of sounds and so will have to embark on a field trip to gather some more suitable ones. The key here though is rhythm and physicality. This is going to be something of a return to a style I was exploring back during my BA, though hopefully more refined. Inspirations from Kurt Kren, Demdike Stare and David Toop’s Sinister Resonance are in abundance.
Mundane snapshots of agricultural labour to build an occult ritual. A rural mythology from the heart of England. A spell. The water, the dirt, the seeds, the stones. The pyramid crumbles. The air burns.
It has been a long time since I sat down to write about Tarkovsky’s epic Andrei Rublev and even longer still since I actually watched the film, however I still remember clearly it was with a sense of trepidation that I approached it – knowing full well of it’s duration and what that would almost certainly bring in a film by an artist such a Tarkovsky. He who so often brings crippling boredom and stunning enlightenment in equal measure. Therefore I was wonderfully surprised when I was not bored in the slightest, and instead was reduced to a state of rapture by the sheer, restrained brutality of what followed
Rather than following typical narrative flow, the film threads together like a tapestry, showing glimmers of cruelty and tenderness in the extreme. What sits within this is a series of arias representing human events within the unyielding flow of time. These are somewhat like myths and folk-stories woven together by an intertwining journey, which the titular icon painter Andrei Rublev follows both geographically and mentally.
The visualisations of folklore that I can recall most strongly are: the balloon, the fool, the witches, the bell. These segues of narrative create temporal sinks within the overarching history Tarkovsky leads us through. I use the term folklore here entirely due to their isolated positions within the temporality of the film. Rather than acting as points within a cohesive narrative whole these sections provide us with a mirror of Rublev’s paintings – fables passed on through word of mouth until they are stilled upon the cathedral’s walls for all to see.
The hunters and gatherers cling to the hillside, exposed to the raging void of history.
This was split into two and given as cards to my brother and dad. Still working on getting the colour reproduction right when cleaning scanned images up to be printed…I think this is the best so far.
A lone being struggles through forest, bog, and heath; exploring a catalogue of sensory experiences. Later, on a far off shore a figure strides beneath towering industry; tends crops, gathers materials, drifts on. A shrouded cataclysm lies at the core – an untamed fire, consuming this world from the inside out.
Fleet.Miscue will be screening in the shorts programme Elementals: Presence at Alchemy Film Festival in Hawick, Scottish Borders on Saturday 22nd October at 11am. Both myself and Oliver Lewis are hoping to attend and give a Q&A.
A celebration of the cosmos. An ode to the divine light. The peyote dreams of worlds filled with gaudy colours, silks, and dancing.
This was penned as an engagement present for dear friends. Dream on. Peal on.
Vibrations: Isolated from Exterior Time by Magik Markers & Memory by Animal Hospital
The cosmonaut arrives…
My style has been developing quite a lot of late, with a move towards more spacial pieces, and attempting to bring together tried and tested techniques into a more satisfying whole. Trance states abound.
You can check out “Cosmonaut” amongst some other new additions, in the gallery
In the progress of exorcising two rather exciting new illustrations…well they excite me anyway. I’m finding working on A5 incredibly liberating…not that I’m working to a much larger scale…but it allows the images more space to breath and form a life of their own. It’s also quite exciting to be working with blocks of colour, and bringing together disperate styles..and of course heading into deeper darker territory once more.
Almost done with the one on the left…I should be updating with progress on the other one before the day is out
My wonderful workspace this weekend…oh go on then, have some Easter eggs as well.