... observe, encounter, capture, collect and transform...
A little more about me:
To date, 'performance' has been a major catalyst through which I explore my creative practice. I generate theatrical and documentary art-works of performance processes and research, and outcomes. My own, previous performance experience continues to influence my current creative interests.
My projects also emanate from a personal approach to camera-art, digital image-making and collage that has been evolving since 2010.
I seek to generate beautiful pictures that can be read like chapters in a larger whole – images that migrate between live performance and visual practice. I employ an experimental approach to photographic processes. Layering is a critical component to my visual interpretations and interventions, e.g. through collage, multiple-exposures, blurring, transposing, embedding text and image into a pre-existing publication. Each layer can be seen to communicate with another – from whole to parts, from personal to collective, from subjective to objective.
I employ a whole host of optical surfaces and filters to use as camera lenses e.g. thin slices of lemon, light bulbs, crystals, pre-existing negative slides and handmade filters – eg. plastic boxes filled with honey, molasses, crude and refined oils – and my collections of old, new and toy cameras.
Each project I undertake demands a visual vocabulary specific to its own poetics, creative intentions and objectives. Every project accumulates its own significant texts, audios, objects and camera lenses; collecting is integral to how I create images and has become an artistic discipline in itself. My collections can later be transformed into digital layers and/or provoke new ways of framing an image.
Past projects using these artistic methods have resulted in exhibitions (prints and canvases), digital stories, photo-blogs, small paginations, postcards, bookmark design, calendar (2015), installations and large-scale projections.
I have been fortunate to work and collaborate with some of Wales' most exciting and innovative performers and performance-makers (National Theatre Wales, Likely Story, Firenza Guidi/Elan Frantoio, Deborah Light, Marega Palser, Music Theatre Wales).
In July 2014 I was invited to undertake a year-long residency with National Theatre Wales in Cardiff. It has been an absolute joy and allowed me to go further, dream bigger and to keep on making new and challenging discoveries.
I endeavour to establish and disseminate experimental creative-projects in abundance, with meaningful and magical outcomes.
Well done Leah, this project was a pleasure. A generous meeting of our worlds, bodies and places transforming and re-forming to become something new. I was thinking of you/this work a lot when at a discussion event about documentation/archiving at Leeds Juncture festival. The richness of this project is that it documents HIDE and my practice while at the same time having its own life, its own authorship, its own creative voice... lets meet for coffee soon x
Love love love Leah Crossley's blog - I am blowing heart-shaped bubbles over the mountains to you - the invisible message inside them is 'thank you for recording Queen of the Sea' for me', and in such a rush too. Only just had the chance to begin re-writing/editing/sorting, sorting - still your voice in my head - would you record the finished piece when it's done Leah? wave wave, wave wave x
Mae ymarferion Hail Cremation ar eu hanterth yng Nghaerdydd… pleser yw teimlo egni arbennig y cynhyrchiad hwn yn dod o’r ystafell - wrth i holl gymeriad, cerddoriaeth a naws anhygoel y darn hwn o theatr ddod at ei gilydd. Lluniau gan @MarkDouetpic.twitter.com/ZaKQHc85iI
Hail Cremation! rehearsals are well underway in Cardiff… it’s a joy to feel the amazing energy of this production coming out of the room - as all the incredible characters, music and the style of this piece of theatre comes together. Images by @MarkDouetpic.twitter.com/5uVqipL7lr