About the Artist

I am a kind of cinematic magpie. Most of my source material is gleaned from the cutting room floor of the film production process. I seek to reveal the stuff that the audience never sees, reprocessing and exposing moments that would otherwise be lost forever.

Recycling waste and celebrating hidden labour are persistent intentions in my practice. Rescuing a moment and reanimating it is a form of bringing it alive - a kind of memento vivere.

For example, in Dawn of the Rainbow (1939/2011), I animated the leader from  The Wizard of Oz - the first Technicolor film ever produced - accompanied to a movie soundtrack that had not been used and so the piece is an ode to the unseen and unheard. Likewise, in A Space Odyssey Omit (1968/2011). a single celluloid frame that did not make the final cut from Stanley Kubrick’s 1968 film 2001: A Space Odyssey is reanimated into an almost animated painting. The frame morphs into a silent bodily landscape, undulating slowly and seamlessly in a large, looped video projection.

As celluloid succumbs to the pixel, the endless bombardment of images upon the viewer seems ever more intense. Each blockbuster movie boasts to be bigger, faster and more explosive than the last. I attempt to use the tools and language of 21st century cinema to expose that which has not been seen before and try to seduce the viewer with an alternate view. As the digital and dematerialised world progresses, I search through the analogue graveyard and collect snippets left behind worthy of a second look.


The artist describes herself as a cinematic magpie.

Welcome to the website for Pixel Palace, Tyneside Cinema’s digital art programme, which ran from 2008-2014. Here you can explore our archive of exciting art commissions and exhibitions, as well as the artists we worked with over that time. You can find out more about what is happening with the current Tyneside Cinema Arts Programme at www.tynesidecinema.co.uk/art.