In my practice I operate in the spaces the final gap between seeing and understanding and the narrative that fills that gap.

Time is things occurring one after the other (nacheinander). Space is things occurring next to one another (nebeneinander). Time is narrative made human (Paul Ricoeur), a process, a filling in, a making spatial. Film makes space, time. Film makes things into objects or into different things to that which they are in the ‘real’ world. Film brings into question its own objecthood. Film is a thing and a maker of things: a recorder of things and a replacer of things. The question of the structure of film in the digital era and its very nature and the way it questions the things filmed is, a question of the self.

Deleuze talks about the crystal-image revealing the direct image of time “the hidden ground of time, separating into two possible images”, one grounded in the past, the other in the present as time makes the present pass and preserves the past in itself.” (Deleuze 1989 p8). This is a spatialisation of time, a making of the nacheinander into the nebeneinander. In this way the viewer comes to be a part of the work. By making a temporal into a spatial it is taken from the screen and into the surrounding space and questions the state of the space and the object status of that which it shows.

By adding the narrative from the viewer, which is the subconscious effort of existing within the temporalised space, the viewer is made to be part of the work. That is normally a hidden process, as much a part of the process of existing.

Film / video works as a form of translation. Ricoeur talks about the third text that translators look for; it sits between the original and the translation and carries the truth of both texts. He argues that such a text does not exist and the translator must let go of it to be able to decide between translating in a way that is faithful in lexical terms or in terms of the spirit of the text. In my practice I try to find the point at which temporal representation can hold the truths of the objects represented and the representation of the objects. It is in the process of attempting something which I already know to be not attainable that my working process pushes me to go further in finding out about the processes and structures that lead us to believe that an experience and its filmed experience can be substituted. The camera is the intermediary of experience as our internal narratives are, and as such is as open or closed to the way we manage our existence. So, I focus on making things that could be seen as pointless and in so doing enter into discussion with the function of art.