b a c k
meriel in the sahara

 

A girl walks through the market. She holds up a vial of frankincense to the merchant who is tracing soft circles in the sand with his tattooed fingers. She asks: “How much is this poem?”


Not synesthesia but finding metaphor, rhyme, repetition and history in object, gesture, tone, voice and place. An ecology of moments? What Wim Wenders calls “Picture poems”? Wanting to show how words grow in time and place; in context.


In numbers:


7% of communication depends on spoken words
55% of communication is body language
38% of communication involves the tone of voice

 

Film Poetry is evolving; very much a form 'under construction'.  It is this resistance to boundaries and emerging, shifting, morphing potential that excites me.

“Even the name of the genre is disputed. Poetry films appear under different guises as ‘poetryfilms’, ‘filmpoems, ‘video poems’, ‘multimedia poetry’, ‘e-poetry’ and ‘screen poetry’.“
Lucy English, co-founder with Sarah Tremlett of the Liberated Words Film Poetry

Festival.http://www.thewritingplatform.com/2013/09/a-brief-introduction-to-film-poetry/

In 2011 Tom Konyves, Canadian videopoetry pioneer, described the form as: “a genre of poetry displayed on a screen, distinguished by its time-based, poetic juxtaposition of text with images and sound.”

Lucy goes on to say: “Film poems are tiny, exquisite and mesmerising.”

Perhaps closer to script than poem; perhaps more experimental film than writing… I love their slipperiness.

Please find me on Vimeo. 

Foundational poetry-film projects include:
flowerkisser  http://vimeo.com/73638212 
Soulbird  https://vimeo.com/105272081
small journeys skyward https://vimeo.com/222000500
deep pink http://vimeo.com/104743434 
rain frog promise https://vimeo.com/222004104


Festivals and showcases include…. image of assorted festival flyers

 

Praxis – approaches to embodied or experiential learning; intuition and improvisation.

Representation of human relationships with non-human worlds; with nature, wildlife, landscape and green places. 

The eerie.

Non-fiction natural history writing for children and young people.

Memory and identity.

Ecopoetics and film-poetry.

Wellbeing and healing.

 

“Art offers life; it offers hope; it offers the prospect of discovery.... The arts offer opportunity for perspective, for perceiving alternative ways of transcending and of being in the world”
(Greene, 1995, p. 133). Key ideas: interrelatedness, interconnectedness and interaction.


To borrow a term from Suzi Gablik, central is the search for “connective aesthetics”; understanding the complex interactions between the individual and communal human realm and non-human realms.
Gablik, S. (1995). Connective aesthetics: Art after individualism. In S. Lacy (Ed.), Mapping the terrain: New genre public art (pp. 74–87). Seattle, WA: Bay Press.
Greene, M. (1995). Releasing the imagination: Essays on education, the arts, and social change. San Francisco, CA: Jossey-Bass.

 

Greenland, Iceland, Sápmi, Sweden, Norway, Finland, China, Czechia, Tibet, South Africa, Poland, The Gambia, Senegal, Kenya, St Kitts, Costa Rica, Antigua, Trinidad and Tobago, Morocco, Ireland, France, Spain, Crete, Sardinia, Picos de Europa, Quebec, Vietnam and Oman.

Special interests in Arctic, African and Caribbean ecosystems, adaptation to extreme environments, wildlife protection, animal behaviour and communication.