digital artist // 3D animator // performance director //performer // choreographer
Please ensure before you play all videos that you have the highest quality possible selected (1080p) and the sound on.
(credit: director, writer, animator)
Constructed in sharp, cinematic chapters and entirely soundtracked with a cyberpunk, nostalgic synth score, PSYCHOPOMP combines art animation, hybrid performance text and choreography and draws on sci-fi, classic video games, greek mythology and Vaporwave. The piece takes traditionally male heroic narratives and tropes in mythology that have become embedded in culture and works to deconstruct and re-appropriate them towards the female or non-binary. It does this through the framework of technology, science fiction and vaporwave, in dialogue with writing from Hélène Cixous and Luce Irigaray.
PSYCHOPOMP has been written using found text from sources including The Odyssey, trans. Emily Wilson (W. W. Norton, 2018), Anne Carson’s translations of Sappho in If Not, Winter (Virago, 2002), Alice Notely’s The Descent of Alette (Penguin,1996) Inferno from Dante’s The Divine Comedy, trans. Dorothy L. Sayers (Penguin, 1977), scripts from video games including The Call of Duty Series (Activison, 2003 —) and Metroid (Nintendo, 1986), various vapourware memes and songs, science fiction films and interviews with women working in STEM subjects and female and LGBTQ+ gamers.
Supported by Bristol Old Vic Ferment, Camden Peoples Theatre, University of the West of England, The Island Bristol and using public funding from Arts Council England
First draft performed at:
Bristol Old Vic Ferment, Bristol
Camden Peoples Theatre, London
Please click on images/GIFs below to make them larger
GIFs credit: Maisie Newman
Photo credit: Jack Offord
3D Animation created for ‘PSYCHOPOMP’
The ‘PSYCHOPOMP’ trailer including ‘The Quick Sparrow’ animation
The Quick Sparrow animation was created using Blender Software, Photoshop and Final Cut Pro. ‘The Quick Sparrow’ animation features in the chapter ‘p r o p h e c y’.
e n t r y
Created entirely with blender software, ‘e n t r y’ features in the chapter ‘g a t e w a y’.
Selected text from PSYCHOPOMP
A hybrid performance text for up to two voices, combining original and found text from sources included in main information on the project above.
A note on Character names:
CRYSTAL (female voice) was the name of a female protagonist for a video game intended for release. The concept and game was bought by Nintendo and they changed CRYSTAL from a female character to a male character.
NIKE (female voice) referring to the greek goddess of victory and daughter of the River Styx
KERBEROS (male voice) The Hound of Hades, a three headed dog that guards the entrance to the Underworld
Please click on images to make them larger
Credit: animator and performer
15:44 is a cyberpunk liturgy to disembodiment and digital apparition. A collaboration between digital artist Maisie Newman and poet / composer Rowan Evans, the film combines poetry, 3D animation and original music. It was first commissioned by Mercy and Penned in the Margins as a live performance for the EVP Sessions, Shoreditch Town Hall Basement.
Developed in response to a fear of occupying simulated spaces, encountering digital objects and the empty field beyond their periphery, 15:44 interrogates how the body interacts with digital structures that perform without an identified user. Through the vocabulary of ritual, it encourages an encounter between the viewer and a body of light. Created with Blender software, the animation uses geometric construction and shifting textures to explore the dismantling and re-emergence of form, disorientating ‘our faith in a single plane’. The viewer moves beyond the body into the unknown dimensions of a simulated space, encountering a digital apparition which responds to itself by continually changing in form. We become conscious of the performativity of this apparition as it begins to replicate – and learn from – an awareness within its environment, drawing the viewer away from their physical location.
Simultaneous to this process, Evans’ text draws on spatial theory, religious scripture and science fiction to offer a lyric response to fear and disembodiment in a virtual field, spoken by two alternating voices. This recorded vocal trace parallels the development of the animation and generates a conscious presence of its own, as the voices feed into one another across the stereo field. Music and sound move between ambient drone, post-rock guitars and minimal electronic composition, underscoring and amplifying the image.
Shoreditch Town Hall Basement, London, as part of The EVP Sessions [click here for more information on the EVP Sessions]
Fringe Arts Bath, ‘The Cartesian Cut?’, Bath
Datableed Zine (online)
Penguin Modern Poets 7 (Penguin, 2018)
Lethe ,  and film
3D Animation and film stills
Originally commissioned for Anathema poetry series at Arnolfini, Lethe attempts to map a void in simulated space using an ocean simulator and draws upon concepts of oblivion, empty space and water. In this commission and in other work i am interested in the coming and going of memory and form and this piece can be mapped onto my more recent concerns with ancient greek mythology specifically the ancient greek River Lethe from Hades’ underworld. The piece is currently being redeveloped through this lens.
Anathema Poetry Series at Arnolfini, Bristol.
Credit: Director and Choreographer
WULF is a performance adaption of an Anglo-Saxon poem with choreography, bilingual text, original music and projection. It is a radical feminist adaption of the crucial but overlooked Anglo-Saxon poem ‘Wulf and Eadwacer’, one of only two in the language written from a female perspective. WULF works to reclaim this ancient text, embedded in the South West and its landscape, to share the history of the female voice in ancient myths. Initially interrogating readings of Wulf and Eadwacer from Patricia A. Bleanoff and Dolores Warwick Frese in ‘New Readings on Women in Old English Literature’, WULF uses an all-female cast to explore the poem’s unpredictable rhythm and form directly translating it into physical movement. Although the poem remains largely unknown, feminist criticism links it to an ancient tradition of ‘Women’s Songs’ (Frauenlieder) that deal with ritual, sexuality, mourning, birth and death. WULF explores the physical and spoken language of ritual to reveal fragments of a woman’s journey through separation, wilderness and sacrifice. The piece sits between dance, performance, sound art and poetic ritual, and is driven by an urge to push text and female physicality into innovative territory.
Research and development period supported by Bristol Old Vic Ferment and using public funding from Arts Council England.
Work in progress performed at:
Bristol Old Vic Theatre, Bristol
Performance installation at:
Theatre Deli, London
Text from WULF recently published in:
Penguin Modern Poets 7 (Penguin, 2018)
Reliquiae Vol.5 (Corbel Stone Press, 2017)
Click on the images below to make them larger
Images 1and 4 credit: Chelsey Cliff
Image 3 and film from GIF credit: Paul Blakemore