DISAPPEARING WORMWOOD, 2020
Feature length cinematic witnessing of London living through aberrant, awkward, ugly change, but mostly dying in the process. Filmed over the last half decade, exploring the overlooked aesthetic power of Willesden Junction, Wormwood scrubs, Kensal Green Cemetery and The Grand Union Canal, the film strives to see a closer place, alien, idiosyncratic and yet familiar. Creative collaboration between poet Steven J Fowler and filmmaker Tereza Stehlikova. Trailer is here:
4 GENERATIONS PROJECT
SENSORY WORKSHOPS, 2017
This short film captures the developmental stage of Journey to the Interior project, which culminated in a multi-sensory performance based on Jules Verne’s Journey to the Centre of the Earth. At that time, we met every 3-4 weeks, and explored different elements of the narrative through all our senses. Sensory workshops are part of my ongoing research methodology.
THEATRE OF FRUIT, 2016
A short film made in response to my participation in the Engaging the Senses conference and my time in Montreal, in October 2016. Sensorially tuned by the various talks I attended, I slipped away one afternoon to explore Jean Talon market and the power of sight to excite other senses. A feast for the eyes alone.
DINNER FOR DEEP SURFACE DIVERS, 2016
Can a dinner become the means of transportation into an inner world of the imagination? The film is part of my research into evoking multi-sensory impressions and embodied memory in moving image.
JOURNEY TO THE INTERIOR: INTERVIEWS
Interviews with participants of the immersive multi-sensory performance Journey to the Interior, created for OPEN SENSES festival by Tereza Stehlikova
SUMMER RITUALS, 2014
A short filmic exercise based on a childhood memory of playing with leaves. A work in progress from a project which explores ways of communicating subjective, multi-sensory impressions by audio-visual means.
music by Irena and Vojtech Havel
MOVING WATER, 2014
An art participation project by Sensory Sites and collaborators
Moving Water offered a moving, embodied sensory experience of our biological, psychological, cultural understanding of water through handling sculptural vessels that contain water. Made from sensuous materials such as glass, rawhide, metal and clay, the vessels and the water they contain were exchanged among audience members in an individual and collective exploration. This act of attention and empathy conveyed a poetic narrative about water qualities, ubiquity, use, and loss. The creators of this project are Rosalyn Driscoll, Tereza Stehlikova and Anais Tondeur. Collaborators include Shelley James, Josh Ward, Kathy Crick, Kay Syrad, Claire Petitmengin, and CenSes, a network of neuroscientists, psychologists and philosophers based at University of London who are investigating sensory experience: philosophy.sas.ac.uk/centres/censes This project is supported by Encounter Fine Arts.
ACROSS THE UNSEEN SEA, 2014
On 24th November 2013, 24 specially selected explorers (and 24 initiated guides) embarked on a multi-sensory dining exploration across the imaginary land of Iceland, in the company of William Morris and F T Marinetti.
These are some of the little glimpses into what happened on the night: most of it still remains a mystery to be unearthed while the journey itself is far from over…A collaboration with chef Charles Michel.
A short trailer here:
RED RIDING HOOD
The film is loosely based on the story of Little Red Riding Hood. As we embark on a physical journey into the depth of a forest, the surrounding landscape is slowly transformed into an otherworldly environment, adopting features of the protagonist’s mind, merging with her memories and imaginations, until the distinction between internal and external worlds is erased.
Nameless Wood is a study of a unique ancient forest in Dartmoor, attempting to convey in moving image and sound aspects of its interior life. Originally made for an installation, Just Under the Surface, London.
Soundscape by Robin Rimbaud aka Scanner
TACTILE WORKSHOP, 2009
The participants in this workshop had the opportunity first to feel and study (through touch and drawing) the tactile properties of various objects and materials, while exploring the links between the visual and tactile imaginations, as well as memories and associations created by the experience.
10th February 2009, The drawing studio, Royal College of Art