The video work is based around appropriation of manipulation of films in the public domain. Using them as a found object I re-edit them into short videos focussing on the female lead character. In most of the videos only footage of the female alone in the frame is used, the rest of the film is removed and the images are edited together to run consecutively, following the chronological order of the original film. All sound is removed apart from the character's voice. This re-editing interrupts the patriarchal narrative structure and makes visible the usually invisible editing that is demanded by realism.
The presence of woman is an indispensable element of spectacle in normal narrative film, yet her visual presence tends to work against the development of a story line. The woman is on display, to be looked at and to provoke rather than represent. She functions as an erotic object on two levels: for the characters within the screen story, and for the spectator within the auditorium, with a shifting tension between the looks on either side of the film. By removing the male protagonist the gaze is transferred solely to the spectator, which intensifies our own scopohillic position. The female character is left looking passive, vulnerable and unstable.
In Sarah (2014), this process has been repeated but two videos showing the same character from two different films have been placed alongside one another and played simultaneously. The sound has also been included. This creates a visual and audio dialogue between the two versions of the same character. The dialogue between them is serendipitous & uncanny. She communicates to herself over time, looking back on herself and into the future.