Last Night Meant Nothing
(Super 8, 20.5 mins, 1998/9) Experimental narrative journeying through the good and bad dreams of an otherwise indifferent night.
Eratosthenes at Home
(Super 8/performance, 5.5 mins, 1998) Time-lapse film and live performance piece - fake biography and illustrated lecture on how the Earth's circumference was calculated.
Signs of Life
(Super8, 5.5 mins, 1997) Found footage, offcuts and extraneous sequences reassemblage - a gesture to the pleasures of images that move.
Human Error in the Mechanical Age
(Super 8, 11.5 mins, 1997) More live action and animation, described in the Whitechapel Open screening notes by Andrew Kotting as: "Glorious dreamscape and a dog connection, reminiscent of a bygone era at the dawning of the age of the answer machine".
Volcano Meets the Press
(Super 8, 5 mins, 1996) The film of the Press action - kinetic reworking of a publicity ploy for the Volcano Film Festival.
Stay in a Friendly Country
(Super/Single 8, 14 mins, 1995) Formally eclectic but heartfelt tribute to the holiday home movie heritage of low gauge formats.
Paint Sale
(Super 8, 3.5 mins, 1994) A documentary - of sorts - retinted, toned, sped up, slowed down.
Their Time Had Come
(Super8, 5.5 mins, 1993) A documentary on animal mortality - live action and hand treated footage (bleach + inks).
(Super 8, 13.5mins, 1993) A tribute to Marie MenkenŐs film of the same name - literally a notebook spanning several tomes worth of self-devised techniques - narrative, formal and attacking and sticking things to the film-wise.
Requiem for an Ice Baby
(Super 8, 6.5 mins, 1992) The fleeting memories of a melting infant - live action, animation and rephotography (through ice).
Home Town Reel
(Standard 8, 5.5 mins, 1992) Multiply exposed passage through local urban and domestic spaces.
Life And How To
(16mm, 11 mins, 1990) Experimental narrative exploring a therapist's relationship with her kleptomaniac patient.