The whole project was exploring the idea of existence, vulnerability and what’s out there. It’s very existential and morphed throughout the project. The idea of the feathers is very innocent, it’s almost like rebirth. As the feathers fall down and they adhere to the bodies almost like a totem. When that’s done it reverses and the feathers go back up, it’s like being reborn again.

I always knew I was going to do a projection, I wasn’t even sure if I was going to do video work. I was leaning toward prints and then I thought that video work would work really well with what I was trying to do. I was thinking of just projecting it onto a board but I wanted it to be tactile and really ephemeral, so its supposed to be so people can walk around it, feel it as the chiffon moves. It’s very raw, that adds to the vulnerability of it all.

I think [AUB] is such a great creative environment. It’s so supportive of the artists and really, really helps you build the artwork; it’s how I’ve managed to create work that I am happy with. They’ve really given me the freedom and good feedback in order to build on it. The facilities are great, it’s been a real privilege.

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