I’ve been included in the 2015 edition of the Catlin Guide.




The Catlin Guide is an elegant, limited edition collection of artist profiles, introducing the 40 most promising new graduate artists in the UK. Printed annually, each edition exhibits the artists’ latest work and details future exhibitions, projects and aspirations for the coming year.

The Catlin Guide 2015 will launch at The London Art Fair on 21 January 2015, alongside work by many of the featured artists. The artists are selected for their work shown in the most recent series of BA, MA, MFA and PG Dip final exhibitions where they demonstrate ambition, skill and integrity. The Catlin Guide is distributed throughout the art industry and has developed an excellent reputation as an accurate and exciting overview of new British art. For the featured artists it proves to be a vital springboard, with many going on to exhibit at high profile shows.

The print run remains strictly limited, and we anticipate many collectors rushing to secure a copy at launch. However, the Guide will be available to purchase from Amazon, Culture Label, Waterstones, Blackwell’s and selected art bookshops.

INTERVIEW – Extracted from the Catlin Guide

Q.What kind of art do you make? 

I work across various disciplines, including painting, drawing and sound but my current focus is film and writing. I’m interested in the role of narrative in our retelling of the past, particularly the different ways in which we remember – both as individuals and groups. My films use split screens to represent the space that exists between our structured memories and the uncontrollable nature of our surrounding environment. Unlike the stories in documentaries and cinema, our own narratives change constantly and are seldom resolved. It’s this truth that I try to deal with and find a way to represent.

Q. You won the Platform Graduate Award for the film Wünschendorf, can you identify what distinguishes that piece from the  documentary genre? 

When I started making Wünschendorf, I described it as a documentary. Visually it has similarities to a documentary, but the construction, the unresolved narrative and the physical structuring of the film are designed to illustrate the constantly shifting spaces between memory and place. This is what makes it different. I’m not trying to assemble a narrative; I’m trying to explore and expand upon narratives which are already in place.

Q. You have a background in music, do you compose the soundtracks to your films? 

I wrote a score for a short film called Ghosts and my latest work, The Shore, used hydrophones to record sounds from within the sea. Audio is incredibly important to film and is often overlooked. When I started making films I saw audio as secondary to image, now my opinion is reversed.

Q. What are you working on? 

This is an exciting year because it feels like there’s nothing to lose. My aim is to work hard and take risk because if there was ever a time to make mistakes, it’s now. I have a number of projects in development, including a new film, a series of audio broadcasts and exhibitions with the 13 other recent graduates selected for the Chisenhale Studios programme, Into the Wild.