Single-channel high-definition colour video with sound. Duration 04 minutes 36 seconds. (2014)
Single-channel high-definition colour video with sound. Duration 07 minutes 03 seconds. (2013)
Single-channel high-definition colour video with sound. Duration 06 minutes 34 seconds. (2011)
Filmed in and around Cushendall, County Antrim
Single-channel high-definition colour video with sound. Dimensions 1920 x 1080. Duration 11 minutes 06 seconds. (2009)
Filmed at various locations including Sir Thomas and Lady Dixon's Park, Minnowburn, Mussenden Temple and Benone Strand.
This work takes as its subject the performing body in a domestic space. It proposes another way of looking at the body on screen and attempts to construct subjectivity for the female protagonist. 1859, takes a Victorian house as the setting, where I subvert the expected social decorum. There is a certain irreverence to the actions. The female body is not fully visible optically, but its presence is felt in another sense - aurally.
Single-channel high-definition colour video with sound. Dimensions 1920 x 1080. Duration 03 minutes 33 seconds. (2006)
Filmed in Wilmont House, Sir Thomas and Lady Dixon's Park, South Belfast.
Two-channel video installation, colour video with sound. Duration 07 minutes each channel. (2005)
Filmed in Milltown Cemetary, Falls Road, West Belfast.
Part one: Landscape deals with the space of a cemetery formally. It presents a traditional view of the Belfast landscape. The work asks the viewer to create their own narrative and to engage with the situation by finding subjects to focus on.
In Part two: Man at graveside we are reminded of the conventions of behaviour involved with a place like this and we question the artists’ actions. We do not usually get to see the process of making artwork. In this case, we can see the difficulties involved in working in this kind of space and by allowing the viewer to see this; it provides a juxtaposition of the reverent landscape.
Single-channel video installation, (2005)
This work looks at family history and its rituals of memory. It questions how we read our family history in photography. The photographic mask is a device, which asks questions about conventions of photography. This work takes a formal studio portrait of a child and makes it look both sinister and uncanny. The child/adult protagonist enters into an imaginary dialogue with the viewer, who is invited to look at and consider his or her own family history and photographic selves.