By welcoming diverse perspectives and viewpoints we can learn more about ourselves, and the world we inhabit together
Winchester School of Art . Park Avenue. Winchester . SO23 8DL.
CAS Curator, Susan Francis is proud to announce an international collection of of 25 artists’ films which will be on display at WSA for 5 weeks during the Laboratory of Dissent.
Showing: 4 Nov – 6 Dec 2019
Preview: Saturday 2 November 2019
Roof Piece Tehran
Stay Where You Are!
I said no
Personal Space Adjustment
I am Waiting for the day We Meet Again
A escala é grande e por isso ficamos por aqui
(The scale is big and that’s why we stay here)
The River of the Kukamas
(El Rio de los Kukamas)
The Ghost who Fell off a Chair
Point of View
Perfer et obdura,
Be Patient and Tough
videograms of a revolution rip mark fisher
Citizens of Nowhere
How to find the films:
On Park Road, beyond the gallery on the West Side you will find a screen facing the street. Look inside from the outside, to see a selection of silent Inside/Outside films playing through the window.
From the Town Centre: arrive on foot at Park Avenue and walk almost to the end of the road on the left side of the street. The last building in the street has large windows facing the street. Look in. The short films will be playing on a loop, facing the window.
Aki Poon – Jinmenju ^
Bio: Aki Poon is a Hong Kong and London based artist who has recently completed a MFA Fine Art Media at Slade School of Fine Art.
She is an image based, cross-disciplinary artist, working across photography, video, performance, sculpture and installation. Her work explores human vulnerability, fragility, interior and exterior, identity, body and the occult. She frequently uses her works to tell stories from her personal experience. She brings a sense of wonder to the most ordinary phenomena, her work is an aesthetic celebration of simple human experience often forgotten.
Sometimes we find it difficult to be our true selves, ideologically and socially. In my film ‘Jinmenju’, I explore identity, inner and outer self, also human fragility. In this film, I inflate balloons with my face printed on it. The balloons represent my identity and make material human fragility; my breath transformed and transferred into the balloon, becomes visible a physical object. Letting go the balloon, it represents myself longing for freedom, but it also, loss of identity.
Amber Akaunu – Hair ^
Bio: Amber Akaunu is an artist filmmaker, photographer and illustrator from Liverpool. Her work predominately uses film and photography to dissect the relationship between race and identity while living in a Eurocentric society; using music as a playful gateway to explore this. Amber aims to create imagery that disregards the harmful stereotypes society has formed against Black men and women. Amber’s work draws inspiration from Hip Hop music and artists Arthur Jafa and Jenn Nkiru.
While on an artist residency with FACT, I created a body of work that explored Black women’s relationship to their afro hair. My hair is a significant part of my identity, however in the media (which is heavily influenced by Eurocentric standards), afro hair is often portrayed as messy, unprofessional and unfeminine – This work tries to consider this and have a more positive standpoint of afro hair and shows it as a sign of defiance, beauty and sacred history. In conclusion, being outside of Eurocentric beauty standards does not mean you are any less beautiful.
Anahita Razmi – Roof Piece Tehran ^
Bio: Anahita Razmi is a visual artist based in Berlin and London. She studied Media Arts and Sculpture at Bauhaus- University Weimar, Pratt Institute New York and State Academy of Art and Design Stuttgart, prior to exhibiting widely internationally in institutions like Museo Jumex, Mexico City, Zachęta National Gallery of Art, Warsaw, Kunstraum Innsbruck, Austria, Kunstmuseum Stuttgart, Germany, Kunsthalle Baden-Baden, Germany, The National Art Center, Tokyo and within the 55th Venice Biennale. Razmi is an Associate Lecturer in Fine Arts (4D Pathway) at Central Saint Martins, London. Her work is represented by Carbon12 Gallery, Dubai.
The work Roof Piece Tehran is taking Trisha Brown’s 1971 setup for the work “Roof Piece” out of its original New York context to the city of Tehran / Iran. For Brown’s piece, 12 Dancers telegraphed sequences of large gestural moves from one to another on NYCs rooftops.
Tehran’s rooftops got known as a ‘performance space’ in a different context: they gathered attention in relation to the protests after the Iranian presidential election 2009, where protesters were standing on their rooftops at night shouting paroles like “Death to the Dictator” and “Allahu Akhbar” throughout the city, which were echoing from one roof to another. The reenactment of Brown’s performance in Tehran is making use of that autonomous performance space in a country, where dance itself and artistic performance non-conforming to the regulations of the Islamic regime, is forbidden. The choreography in Tehran was carried out by local performers creating a new ‘Roof Piece version’ within the restrictive circumstances of the city. No audience could attend the performance – instead, the video documentation of the dancers on the roofs creates the piece. https://www.anahitarazmi.de/
Anna Pazstor – Stay Where You Are! ^
This video was created for the ScreenComposition Event of the Experimental Intermedia Festival 2019 Edition. They invited me to create a short video that could not be a narrative one and it needed to be the result of the close collaboration of a video artist and a composer.
“Stay Where You Are!” is a visual meditation about the clash between the dreams and desires for a better life and the coldhearted existence in the current climate in our globalized world. With special regard to children. No words needed.
Charis Poon – I said no ^
Bio: Charis Poon, born and raised in Hong Kong, is now based in London pursuing an MA in Design Expanded Practice at Goldsmiths. After graduating from Parsons the New School for Design and Eugene Lang with a BFA and BA, Charis worked as a graphic, web, and print designer. More recently, she has filled the role of Managing Editor at MAEKAN and been engaged with writing and editing. Her practice explores the combinations that can be made from visual design, audio, video, and writing.
I said no is a collection of refusals from friends and strangers, each person describes what they consider to be the most significant refusal they have made or the biggest refusal they experienced. Recordings were collected via interviews as well as an open call for anonymous voicemail submissions. The audio was minimally edited and the text was animated in accordance to the recordings to preserve the natural hesitations, cadence, utterances, and clarifications that occurred when the respondents were describing their refusals. With only the textual evidence of these refusals in combination with the visualized speech patterns, each person’s background and identity becomes imagined—a gathering of anyone and everyone who shares the experience of expressing refusal.
Daniela Lucato – Vieni ^
Bio: Daniela Lucato started playing theatre in Padua (Italy) parallel to her studies at the university. After her degree in Philosophy she moved to Rome, Wellington and finally Berlin where she works as anactress/filmmaker. The Birthday (2014), her first short film written/directed in mandarin/english language, has been officially selected from 25 international festivals In 2015 she founded. Connecting Fingers Company. Her last films When I dance (2016),The Wheel (2017) are screening on international film festivals. For the time being (2018) received the award as best international short film at DUAF/ Tribeca Film Center.
Di HU – Urban Sculptures ^
Bio: Di Hu is a video artist and film researcher based in Shanghai and Dublin. He studied Chinese Literature at Zhejiang University before going on to study cinema at several universities in Paris (Paris 1, Paris 7 and Paris 3). His work across film, video and photography investigate the legacies of the cinema through the interpretation of forms, codes and narratives of films by means of art-making. His practice also engages with film language as gestures to demystify complex social-political constructions, especially those embedded in Chinese society. www.hudi-art.com
The surveillance camera and the smartphone, one is passive and the other is active, represent two types of societies, disciplinary society and society of control as described by Gilles Deleuze. Recent advancements in techniques of control have largely blurred the boundary between the two societies. The artist believes the best way to portray this phenomenon is to take images of these surveillance cameras, to feel the surface of them, to analyze and compare the environment where they are placed, to clarify the ways by which they are inserted into the body of the city. Today, people can do anything in China with a smartphone in hand, including having the ability to make payments via services like Wechat or Alipay in even most unimaginable places and situations. A smartphone contains a whole life and has become life itself. Try imagining the future with these images…
Harry Grundy – Personal Space Adjustment ^
Bio: Harry Grundy’s studio practice seeks playful answers to familiar questions. By applying an idea-centric irreverence to the natural world and human behaviour, his work asks you to look again at the solemn and familiar moments in life.
I adjust my personal space as best I can by balancing a selfie stick on my nose. My centre of gravity becomes the centre of the frame. The duration of the self portrait is as long as I could possibly manage. A self aware balancing act.
Helen Kilby Nelson – Seepage ^
Bio: Helen Kilby Nelson is a multi-disciplinary and experimental artist living in Warwickshire, currently a member of the 2019 Black Hole Club cohort at Vivid Projects in Birmingham and recent artist in residence at Coventry Artspace and Coventry Biennial of Contemporary Art, Bear & Ragged Staff: Ideas of the Rural. Kilby Nelson’s practice is informed by social and political issues, across the digital and built environment, identity, behaviour and commonisms. Kilby Nelson works across media within post-digital and socially engaged approaches. Combining digital and analogue media, including photography, moving image, spoken word and music, to construct sculptural, installation and 2D works that explore and question the layers of meaning, information and misinformation in media communications that program societal values and attitudes towards, status, material possessions, and identity. Kilby Nelson is particularly interested in the causality of mass control and how different forms of language are used to reinforce and inform public perceptions of ‘the haves and the have nots’.
There is no inside without an outside, yet, what lies in the inbetween? The duality of the threshold, the keeper of the outside from the inside and the inside from the outside, but does it? ‘Seepage’ is a representation of the relationship between the inside and outside of the domestic dwelling through the dance of light and shadow: What are the consequences of being othered due to housing status? A physical disorientation to reflect inner anxiety as the inside is compromised by the outside. A private moment, fear laid bare, placing the viewer inside looking outside. The viewer becomes the observer and the observed.
Axisweb : https://www.axisweb.org/p/helenkilby-nelson/
Linked : https://www.linkedin.com/in/helen-kilby-nelson-00a89614a/
Twitter : https://twitter.com/HelenNelsonArt
Instagram : https://www.instagram.com/helenkilby01/
Julia Keenan – Tender Vessels ^
Bio: For Julia Keenan: Recent Graduate in Contemporary Fine Art  Julia Keenan continues to develop and push her practice. Showing work around the country and for the last two years has been selected for residency’s at ASPEX Gallery in Portsmouth. She has worked with the Whipple Museum in Cambridge and her project ‘Strange Chimera’ was shown as part of Cambridge University’s Science Festival in 2017. She is an associate of ASPEX Gallery and CAS and enjoys the peer network opportunities for showing and collaborating.
This film ‘Tender Vessels’ is a progression of an existing body of work into a digitised format. The work is informed by the on-line experience, specifically social media, and the affect this has had on human communication and representation.My interest lies in the spaces between analogue and digital process, where there is overlap or glitching and the causal effect to the resultant work.The process was inspired by the experimental film maker Chris Marker [1921-2012] specifically his film ‘La Jetee’ .The American writer and Professor Carol Mavor  describes La Jetee as taking place in a ‘no-place’ in ‘no-time’ which she correlates to the time and place of the fairy tale. She also describes the ambiguity of dystopia/utopia within the film.‘It is dystopia with the hope of utopia, or is it utopia cut with the threat of dystopia?’ It is this questioning and ambiguity of space that I hope to bring into the work.
Minyao Fang – I am Waiting for the Day We Meet Again ^
Bio: Minyao Fang continues an ongoing interrogation of mutability and fluidness by continuously stepping inside and drifting away from the medium, technology, objects that she’s working with. Distinguishing the knowledge of the intrigue being in the embryo to the yet-to-become, triggers of transformative materialism and objects are reproduced through sculpture, performance and moving image works.
Water taken from the river was sealed in the ball.Visullay water inside the ball has reunited with the river, however, physically it could never touch its original enviornment.
Transparent material plays an important role in this piece. Considering boundary from different dimensiions, the conflict between existence and inexistence becomes a poetic expression in the work. Going beyond physical status, the authropathic metaphor from the title adds another layer: the relationship with time.
Morgan Watson – TOAST ^
Bio: I am currently a Fine Art student at Winchester School of Art, developing a chaotic practice through most commonly film and audio. My artwork repeatedly questions what it means to experience the futility of the human condition through the use of ironic and satirical overtones.
My piece, ‘TOAST,’ addresses one simple thing that remains a constant throughout my life- toast. The work is rendered from footage taken from my own phone during the day, reinforcing the overwhelmingly fast pace of life and providing the characteristic restlessness to my practice. Could I be making artwork dealing with harder hitting issues? Most probably. Yet, from a nihilistic viewpoint, does it really matter? In a society where the world is constantly morphing into a dystopian universe of hatred and disillusion, it does not hurt to take a moment to step back and focus on toast.
Nicole Kouts – A escala é grande e por isso ficamos por aqui (The scale is big and that’s why we stay here) ^
Bio: BA in Visual Arts from Centro Universitário Belas Artes de São Paulo, where I developed my research and practice in a multidisciplinary way. I’ve participated in exhibitions in different cities in Brazil and internationals in Greece and Guatemala; also online/non-territorial proposals, including The Wrong Biennale and TIMELINE:BH#5 Video Festival. My artworks unfold mainly in the languages of digital art, video art, installation, drawing, collage and printmaking. The re-signification, places of memory, multiform narratives, the dogmas of the present and the archeology of creative process. All these questions are understood within a context of convergence and divergence between analog and digital media, of ancient and contemporary rituals involving images. A infinite field of questions, trying to find consistency in the puzzle of the visual language. I also dedicates myself to illustration, theater posters, scenography, costume design, puppetry and music.
A performance for the camera where simultaneous captures takes place through a screen recording device, a scanner and a webcam. A game between hidden and revealed layers is the outline of a narrative that presents a single situation in multiple and contradictory alternatives within a context of convergences and divergences between analog and digital media.
Nika Bellianina – The River of the Kukamas (El Río de los Kukamas) ^
Bio: Moscow-raised, Toronto-based Nika Belianina has been making fiction and documentary films since 2005. She has MA in psychology and worked on numerous unionized film sets as a lighting technician and a props person. Now, Belianina is a multi award-winning writer, director and a producer with film screenings across the globe at more than 70 film festivals, including Tribeca, Sheffield, Atlanta, Sao Paulo, Byron Bay and others. Recipient of international residencies and OAC and CAC grants, Belianina shadowed directors on tv-series “Private Eyes” (Global) and “Taken” (NBC).
“The River of the Kukamas” – Being born from the Spirit of the river, Kukama people have a special connection to the water. The river shrinks and grows throughout the year, affecting the lives of its citizens. Filmed at its widest state at the end of the rain season, we learn of the challenges Kukama people face in Peru today.
Oktawian Jurczykowski – Judging_Status ^
Bio: Oktawian Jurczykowski born in 1997 in Wrocław in Poland. Currently studying Animation Film and Special Effects in Lodz Film School. Interested in animation film and visual arts
Being not selected to an exhibition or a screening is a great feeling! It gives you power and strength because you know that your work is worth more than the judges think and it’s only a matter of time when you will show them what amazing things you are able to do! Unfortunately nobody knows when that time will come…
Olga Szulc – FROM & TO (in & out) ^
Bio: Olga Szulc was born in 1974 in Szczecin, Poland. She studied at The Academy of Fine Arts in Gdansk, Poland, and earned a Master’s Degree in Interior Design as well as Stage Design. Olga works primarily as a painter and graphic artist, though her favorite medium of work is collage. Passionate about the possibilities collage art offers, Olga explains, “its dynamics allows me to break elements from their contexts and insert them to the new reality. It is a new and surprising reality that makes the creative process so very exciting like discovering new unseen before land. I let myself be taken by the essence of these images not always knowing where it would lead me.
This animation represents my life’s journey from birth, through growing up, adulthood to the end. I am using the darkness at the beginning and the end of this movie to reflect on the question of : what happens to us when we are outside of our lives? I am also trying here to visualize my fascination with the mystery in the movement of our shadows.
“…left behind by us on earth
only our shadows shall cry.”
by Krzysztof Kamil Baczynski “A Melody”
Oliver Poppert – Symphonic Textures ^
Bio: Emerging video artist, working primarily in digital video and photography. My work focuses on concepts of time and space – abstract representations of spaces and people with a particular interest in urban environments and how they are inhabited.
This work explores the feel, appearance and consistency of the urban footprint. The things seen, unseen and the harmony between the two. It is an exploration of urban textures given an otherworldly quality.
This film was made through an extensive selection process of specific imagery and experimentation which ultimately led to the consolidation of concept and practice. By deconstructing compositions into rows and columns and the application of a vertical greyscale gradient, an imagined plane is created where all particles are vibrating strings and each type of vibration corresponds to a different particle.
Roisin Sullivan – The Ghost Who Fell off the Chair ^
Roisin Sullivan is an emerging multidisciplinary international artist, showing and performing works in Rotterdam, London, Bedford, Winchester and Devon. Sullivan’s practice often interchanges with its form most appropriate for the conceptualisation of the work. She has previously worked in film, sound, performance, installation and sculpture. Her practice explores conventions of visibility and invisibility, and the expression of her microcosmic experiences.
This video installation is an extended iteration of a previous work; Apocalyptic Realm of the AbsurdtitledGhost and The Chair which is a title inspired by a child’s description of the film, highlighting the playful nature that this character manifests, as well as exploring a darkened sense of miscommunication. This series is an extension of using my body as an image and manipulating this within an absurdist way, in order to represent my microcosmic experiences through having Asperger’s syndrome. I would present the footage within a chair to deconstruct furniture in order to this absurdism through dysfunctional presentation. The methodology of using the digital and the function of a green screen provides a mixed aesthetic between a child’s cartoon and a club night. There are pockets of podcasts, and YouTuber’s that express their microcosmic understanding and experience of being the spectrum without social stigma, the use of new technologies mobilises this conversation within an art form antagonises this discussion between exclusion and inclusion, to which is why I have used the same form of digital media within this piece.
Saša Tatić – Point of View ^
Bio: Born in 1991. in Banja Luka (Bosnia and Herzegovina). Master studies at the Bauhaus Universität, Department of Public Art and New Artistic Strategies finished in 2017, as DAAD Scholarship holder. One of five co-founders of Art project for popularization of contemporary art “APARTMAN”. Finalist of ZVONO Award in 2018. Winner of several awards, praises and grants in the field of visual arts. In her work she deals with thematic focused on traditionally oriented consciousness about material and immaterial values, affiliation, origin and inheritance, with the intention not to universalize, but to trigger interpretations that would lead to general understanding and simultaneous evoking of critical awareness. Actively exhibits on numerously regional and international exhibitions and festivals. Lives and works in Berlin.
The physical confrontation of two body parts creates a sensitive and intimate dialogue that strives to discover utter truth. Each in his field of vision abstracted each other, with an awareness that the observation of the same thing does not necessarily have the same meaning or impact for two individual personalities. The interpretation of what we see in a positive way can be painful for others, which is presented through direct application of pain at the sight.
steve hines – ANYONE ^
steve hines was born in Nottingham, England and after an initial career in commercial printing, returned to full-time education at Sunderland University where he gained a first class Honours Degree in Photography, Video & Digital Imaging in 1998, After spells in Newcastle upon Tyne and Paris, Hines moved to London where he completed a MA Fine Art at Central Saint Martins in 2006. Hines’ practice has evolved from Photography, & Video through other disciplines to Sculpture where his main focus now lies. The theme of dissent and challenging authority has been a recurring theme in Hines’ practice, which can probably be attributed to his formative years during original punk era of the mid to late seventies.
Svetlana Ochkovskaya – The Seen ^
Bio: I am currently studying MFA Fine Art at the Goldsmiths University of London, having graduated in BA Fine Art from the Southampton Solent University in 2017. I have exhibited my work nationally and internationally. I have been shortlisted for Batsford Prize Award 2019 and 2017 and for Visual Art Open Prize 2018. Aspex Gallery Portsmouth has nominated myself to the shortlist for Platform Graduate Award 2017 and Best Visual Artist Guide Award Portsmouth 2019 and 2018. I have completed the two-month residency project at Aspex Gallery in January and a two-month residency at Space/Sticks Gallery in Fareham in July 2018. I am an artist-in-residence at Southampton Solent University until August 2020.
Through the visual transformation of the human body and creating a disorientated environment in my work, I am curious about things that are deemed weird or different. Explore the idea of fantastic, strange and ‘other’ I produce my wondrous world of curiosities. Inhabited by a creature, neither human nor alien, real or imaginary, these constructed environments bend the fragile boundaries of our perceived reality. Through my work, I want to make familiar things unfamiliar and strange, to be taken out from everyday life experience, from familiar associations, to turn it over and to displace it; to de-routinise everyday experience. I want to present the common thing in a strange, unfamiliar way, in order to enhance the perception of the familiar.
Tessa Ojala – Perfer et obdura, Be Patient and Tough ^
Bio: I’m a designer and visual artist from Finland. I work mainly with video art, photography and painting. In my work I like to combine elements of beauty and strangeness.
This short film is a self portrait. I tried to visualize how it feels like to live with a condition that causes chronic pain. Describing your pain to someone else is difficult, and many people who live with chronic pain feel like their suffering isn’t taken seriously enough. From the outside you may not notice it, but the pain inside is real and debilitating.
Valentino Russo – videograms of a revolution rip mark fisher ^
Bio: Valentino Russo (Rome, 1994) is interested in the reuse and re-contextualization of images from online sources—sometimes mixed with original material. This process mirrors the endless recycle of culture that takes place in our social-media based society, a landscape characterized by the impossibility to distinguish between real and fake, true and false, right and wrong. Around all the collected images, a narrative is constructed, turning the visual material in metaphors, characters, allegories that depict a distorted and often dreamlike reality. Valentino is currently based in The Hague, The Netherlands, and he is part of the artist collective The Balcony. The collective runs a vitrine exhibition space under the same name, and a project space called Susan Bites, both in The Hague.
‘videograms of a revolution rip mark fisher’ shows luxurious interiors in which flat screensdisplay images of riots and popular insurgency turning into mad raids. The contrast between the elegant design and the feverish looting describes two opposite faces of the same society, that find in the strive for material goods their point of contact. The title comes from Harun Farocki’s ‘Videograms of a revolution’, a documentary made of excerpts from the Bucharest TV studio overtaken by demonstrators as part of the 1989 Romanian Revolution. In addition to this, “rip mark fisher” pays homage to the British philosopher Mark Fisher who, in “Capitalist Realism”, theorized the impossibility of an alternative to Capitalism, and that took his life in 2017.
Victor López González – Atlas ^
1987-1991 Degree at the Academy of Design (Industrial Design).Valencia (Spain): 2000-2001 Socrates/Erasmus scholarship holder at the Academy of Arts and Design. Halle (Germany) : 2001-2002 Promoe scholarship holder at the University of Monterrey UDEM. Monterrey (Mexico) : 1996-2002 Degree at the University of Fine Arts San Carlos. UPV. Valencia (Spain) : 2003 Land Award of Academic Achievement. Valencia (Spain) : 2002-2004 Postgraduate Studies at the Academy of Arts and Design. Halle (Germany) : 2005 Public Award “Der Esel, der auf Rosen geht”. Halle (Germany) : 2006-2008 Auditor to Artistic Photography at the Academy of Graphics and Book Arts Leipzig in the class of Professor Timm Rautert, 2007- 2008 in the masters class. HGB Leipzig (Germany) : 2008 Second Prize of the Gesellschafter Award 08. Cologne (Germany) : 2011 Scholarship from the Cultural Foundation of Saxony (Germany) : 2011 Nominated finalist for the Robert Gardner Fellowship in Photography. Harvard University/Peabody Museum (USA).
The video is part of the ATLAS project in which the artist explores methods and processes of the global economy and the economy of subsistence. Thousands of women risk their lives every day on the border of Ceuta. The Spanish autonomous city located in northern Africa, surrounded by Morocco, overlooking theMediterranean Sea nearthe Straits of Gibraltar The images of these women talk about their living conditions, their work and how they are outside and at the same time within the globalization system. The border is their area of resistance, where a life support system blooms and constructs another ‘globalization’ from below, where links are established between work, inequality of gender, migrations, underground economies, etc. In the video, the artist represents it deliberately slowed down, cut and interrupted as well as slowed, cut and interrupted is the nowadays global recognition of fundamental human rights.
Zula Rabikowska – Citizens of Nowhere ^
Zula Rabikowska is a Polish-British visual artist based in London.
Zula was born in Poland, grew up in the UK and worked in France, China, South Africa, India, Palestine and the Caribbean. Her practice is influenced by her own experience of immigration and in her work, she explores the themes of national identity, displacement and belonging.
She is interested in the ways in which written and vernacular narratives interact with images and uses vernacular photography in her work.
She is currently pursuing an MA in Photojournalism and Documentary Photography at the University of the Arts. Zula also works as freelance photographer and as a photojournalist for SOPA Images in Hong Kong.
Zula studied English and French at the University of Warwick for her BA and was later selected for the Yesu Persaud Centre for Caribbean Studies Grant to carry out independent field research in the changing postcolonial identity of the French Caribbean.
“If you believe you are a citizen of the world, you are a citizen of nowhere. You don’t understand what citizenship means”. Theresa May, Tory Party Conference, 5th October 2016.
Citizens of Nowhere is a personal response to the 2016 Brexit referendum where 51.9% of the British population voted to leave the European Union. I was born in Poland and moved to the UK as a child in 2001 and the film explores my struggle of reconciling Polish and British identities. I explore the feelings of inclusion and exclusion in Britain and highlight how living in the UK has excluded me from my family in Poland.
Citizens of Nowhere is an animation created from analogue portraits where the film I shot with was soaked in salt water from the English Channel to imprint the geographical element of the British Isles in the image and to incorporate the idea of movement and journeying in my work I created a stop-motion animation. As a result, the portraits of myself and my family are in constant flux, forever changing and adapting.