The appeal of cinema to me lies in its ability to suggest the kind of
knowledge that might be said to reside in the soul—hinted at by sound
and visual associations, as if in a dream—and whether I follow, observe,
deconstruct or altogether dispense with narrative, it is this affection
for the ineffable that informs my work more consistently than anything else.
The non-structural content of my work is generally a foray into artistic
and societal structures that I find confining or confusing—traditional
narrative structure, television “realities,” notions of what is
inherently feminine, etc. Storylines and ideas are opened to questions rather
than presented as complete. My intent is to work towards an epiphany of
opening rather than one of certitude.
Beyond this, however, my work is rooted in structural concerns, and as
much as I explore myth-reality discrepancies, I am also exploring tensions
between sound, image and text as elements which struggle to describe a certain
meaning but which have their own agendas. The marrying of these elements
in unfamiliar and unlikely juxtapositions serves to destabilize any viewer
attempt to completely synthesize one meaning from the experience—but encourages
them, I hope, to aesthetically appreciate and savour the experience of incompleteness and uncertainty.