playing with narratives

About

Jon Garlick Through deconstructionist philosophies Jon Garlick represents and re-contextualises film narrative structures. His practice utilises various techniques of reappropriating existing footage such as re-editing narrative films or creating collages from multiple film clips from his accumulated archives. He investigates the audio-visual image, it's unique (non) narrative language and where, in between these two entities, lays the real and the fantastical. Eugenia Ivanissevich Eugenia Ivanissevich explores what happens as the three dimensional world is captured onto the flat surface of a print or screen; and how through processes of deconstruction, re-assemblage, spatial configurations and layering, she may undo that. This has led her to a practice where film and photography become building blocks towards a sculptural aesthetic in constant flux. Inventive and playful new forms of representation arise through such exercises, which in turn demand new ways of looking at and engaging with from the viewer's point of view. Her installation and object-based works adopt method of working from collage, Photoshop and pop-up books and is often site-specific. Sheena Macrae Macrae's work manipulates popular iconography in film and video through compression and re-editing, exploring the modern fascination with speed, nostalgia, information and entertainment. She misappropriates the readymade format of cinema and television through digital media technologies fixating obsessively on pivotal recurring narrative junctions. These works parody and reconstruct the dynamics of Hollywood clichés, collective memory and the standardisation of film narratives, co-opting the syntax of film language to develop alternative meaning through a post production remix. Savvas Papasavva Papasavva marries together sculpting, design and filmmaking. A constant outcome of his practice is the building of wooden and bespoke filming equipment, using craft and carpentry techniques to produce alternatives to standard industry equipment. He uses the equipment in a range of different ways, either employing them in movie making workshops or animation lessons and to provide a meaty flesh to a somewhat bony fantasy production company called Misc Pro. The production company is a context in which he can operate creatively and explore substantial and disparate activities, providing him with continuity, autonomy and anonymity.