Wendy [2023]

camera and edit: Frances Scott; sound and edit: Chu-Li Shewring; voices and performances: Michael Curran, Valentina Formenti, Sabine Unamum, Roland; duet score arrangement: Sasha Scott; duet cinematography: Emma Dalesman; duet sound recording: Adam Gutch; meteor crater cinematography: Jesse de Rocquigny; production: Emma Leach; volumetric animation: Kam Raoofi; 16mm film solarisation: David Leister; production stills: Dave Tompkins; lumen printing: Lesley Sharpe; build design and carpentry: David Jones and Mat Jenner; thanks to: Mat Jenner, Natasha Bird and all at TACO!; Robin Kirkham and An Endless Supply; Valentina Formenti; Emma Leach; Dave Tompkins; Michael Curran; Sasha Scott; Emma Dalesman; Adam Gutch; Kam Raoofi; David Jones; Lesley Sharpe; Beth Bramich; Stine Hebert; Sabine Unamun; Tom Richards; Bea Haut; David Leister; Juliet Jacques; Thom Walker; Jesse de Rocquigny; Ben Evans-James; Fabio Altamura; Michael Vazquez; James Coore; Will Brady; Phil Coy; Dani Tegan; Nicky Childs; Ralph and Larry; Christine Scott; Fiona Scott; Sian Prosser and The Royal Astronomical Society; Music Division, New York Public Library; The International Anthony Burgess Foundation; The Robert Moog Archive, Cornell University; The Stanley Kubrick Archive, UAL; Nora O' Murchú and all at transmediale x CTM; Charlotte Procter and all at LUX; piano score transcribed from WENDY CARLOS, Timesteps (1971); excerpts read from ANNIE DILLARD, Total Eclipse (1982); sun sounds courtesy NASA, from the Parker Solar Probe (2018); bird song vocoded from SPRING MORNING, Droll Yankees Inc. (1963); exhibitions and screenings: TACO!,London [2023]; HEIRLOOM, Copenhagen, DK [forthcoming].


Aureole [2021]

Edit: Frances Scott; Sound: Chu-Li Shewring; Voice: Michael Curran, reading Ursula K. Le Guin 'The Left Hand of Darkness' (1969); Music: Chu-Li Shewring, vocoder mix of Cajmere featuring Dajae, 'Brighter Days' (1992); Film Footage: from South West Film & Television Archive, sourced for 'Diviner' (2017), a film commission with SWFTA and Peninsula Arts, Plymouth; Thanks: Beth Bramich, Al Cocks, Phil Coy, Joyce Cronin, Michael Curran, Tim Dixon, Stine Hebert, Mat Jenner, Robin Kirkham, Robin Klassnik, Chu-Li Shewring, Dave Tompkins

Exhibitions and screenings: Curzon Soho, London [2023]; Rencontres Internationales Paris/Berlin, Palais Beaux-Arts de Paris [2022]; Curtocircuíto International Film Festival, Santiago de Compostela, Spain [2022]; and 'MattFlix', Matt's Gallery [2021]


Incantation, Wendy [2021]

Incantation, Wendy is part of Wendy, a research residency and commission with TACO!. Supported by Arts Council England, Peabody and An Endless Supply.

Editor: Beth Bramich; Copy Editor: Deirdre O’Dwyer; Research Assistant: Thom Walker; Contributors: Beth Bramich, Stine Hebert, Juliet Jacques, Mat Jenner, Tom Richards, Frances Scott, Chu-Li Shewring and Dave Tompkins; Performance to camera: Valentina Formenti; Design: An Endless Supply; Publisher: Bobo.


rehearsal letter [2021]

rehearsal letter was commissioned as a live studio session for transmediale x CTM 2021, Berlin.

Soundtrack: Tom Richards; Camera and Edit: Frances Scott and Phil Coy; Thanks to: Ben Evans-James, Jan Rohlf, all at transmediale and CTM, Mat Jenner, TACO!

Exhibitions and screenings: Anthony Burgess Foundation, Manchester [2021]; transmediale x CTM [2021]


Valentina [2020]

Commissioned by TACO! with support from Arts Council England.

Camera, edit: Frances Scott; Sound design, vocoder: Chu-Li Shewring; Music: Tom Richards; Valentina: Valentina Formenti; Transcription: Will Brady; Film processing: Bea Haut; Telecine: Steve Oakes, Images4Life; Titles: An Endless Supply. Filmed on location at Charlton House, South London. Thanks: Phil Coy, Valentina Formenti, Mat Jenner, Music Division, New York Public Library, Raghnild Olsen and Greenwich Dance Agency, Tom Richards, Chu-Li Shewring, and Dave Tompkins

Exhibitions and screenings: Rencontres Internationales Paris/Berlin [2021]; transmediale x CTM [2021]; TACO!, London [2020]


PHX [X is for Xylonite] [2019]

Commissioned as part of 'Raw Materials: Plastics', Bow Arts’ heritage project, with generous support from the National Lottery Heritage Fund, University College London and the Museum of Design in Plastics, Arts University Bournemouth.

16mm camera, edit: Frances Scott; Photogrammetry, 3D animation: Phil Coy; Composition, sound design: Chu-Li Shewring; 16mm film processing: with Bea Haut, Film in Process; Voice: Dr. Miriam Wright, Institute of Sustainable Heritage, UCL; Reading extracts from: Roland Barthes’ ‘Plastics’, Mythologies (1957); ‘Experiments for colour’ in a laboratory formula book, British Xylonite Company (c.1888); symptoms of degradation in semi-synthetic plastics; Sampled shellac recording of The Ink Spots ‘I’m Not The Same Old Me’ (1941). Thanks: Bow Arts Trust: Sophie Hill, Saphia Venner, Natasha Vicars; Phil Coy; James Moore; Joyce Cronin; Film in Process: Bea Haut; Hackney Archives; Harold and Phil Mernick; Museum of Design in Plastics, Arts University Bournemouth: Louise Dennis, Professor Susan Lamber, Katherine Pell; Plastics Historical Society Library, Institute of Materials, Minerals & Mining: Frances Perry; Science Museum, London: Susan Mossman, Helen Peavitt; Christine Scott; Chu-Li Shewring; Suffolk Archives; University College London: Dr. Katherine Curran, Dr. Miriam Wright (Institute of Sustainable Heritage); Romain Meunier, Necole Schmitz, George Walker (Institute of Making); Ellie Doney, Michael Duffy, Jo Volley (Slade School of Fine Art); Dr. Emma Richardson (Department of History of Art); Professor Tim Weyrich, Dr. Kathryn Piquet (Centre for Digital Humanities); Dr. Ruth Siddall and Jo Townshend; Vestry House Museum, London Borough of Waltham Forest: Ainsley Vinall; and Lilian Wilkie

Exhibitions and screenings: 57th New York Film Festival [2019], The Institute of Making, UCL [2019], The Nunnery, London [2019]


Diviner [2017]

Diviner was made for the Peninsula Arts Film Commission, a partnership between Peninsula Arts at Plymouth University, the South West Film and Television Archive and The Box, Plymouth.

Camera and edit: Frances Scott; Sound design and mix: Chu-Li Shewring; Telecine: James Gibbs, SWFTA. All archival material from South West Film & Television Archive. Special thanks to: Phil Coy; Chu-Li Shewring; James Gibbs; Natalie Banbury and South West Film & Television Archive; Sarah Chapman and Peninsula Arts; Plymouth College of Art; Joyce Cronin, Louisa Bailey, John Brown and The Bower.

Exhibitions and screenings: Artists' film programme, The Bower, London [2020] and solo exhibition [2018]; Tate St Ives [2018]; Peninsula Arts [2018]; Jill Craigie Cinema, Plymouth [2017]; and the Phoenix Cinema, Leicester [2017].


Its soil was a plot she do the tree in different voices [2017]

Commissioned by Art Licks & Yorkshire Sculpture Park. Funded by the Stuart Croft Foundation, Moving Image Award 2017, Arts Council England, and Ampersand Foundation, with additional support from York Archaeological Trust. A research residency was supported by Jerwood Charitable Foundation.

Camera and edit: Frances Scott; Additional camera: Phil Coy and Freya Stockford; Sound recording: Adam Gutch; Insect sound recordings: Dr. David Chesmore, Department of Electronic Engineering, University of York; Sound design and mix: Chu-Li Shewring; Voice: Alan Mackenzie; Timber Wolf: Terry Lee, Lord Papa Stu, Tim Moore, Will Grinder, Ashley Ridley; 35mm slides and archive interview: courtesy Yorkshire Sculpture Park; Script: Adapted from recordings in West Bretton, August - September 2017, with additional written material from ‘Domesday Book’ (1086-87); Dante Alighieri, ‘Inferno: Divine Comedy’ (1320); D.H Lawrence, ‘Women in Love’ (1921); T.S Eliot, ‘The Waste Land’ (1922); R. Welldon Finn, ‘The Making and Limitations of the Yorkshire Domesday’ (1972); Jorges Luis Borges ‘The Disk’ and ‘The Book of Sand’ (1975); The Landscape Agency, ‘Yorkshire Sculpture Park: Historic Landscape Management Plan’ (1999) Print: designed by An Endless Supply, printed by Emmerson Press, Kenilworth. Thanks to: Phil Coy; Holly Willats and Art Licks; Louise Hutchinson, Freya Stockford, Terry Lee, Lord Papa Stu, Alan Mackenzie, Iain Stephenson, Matthew Cullen, Thom Butler and all at Yorkshire Sculpture Park; Ian Panter and the York Archaeological Trust; All at the Stuart Croft Foundation; John Brown; Chu-Li Shewring and Adam Gutch; Christine Scott

Exhibitions and screenings: Yorkshire Sculpture Park [2017]


nine nine nine nine nine [2017]

Supported by the Arts Council England and Henry Moore Foundation. Commissioned by 53 Beck Road and Art Licks.

Camera and edit: Frances Scott; Sound design and mix: Chu-Li Shewring; Voice: Michael Curran; Archive footage, Beck Road: Martin Hearne; Readings: adapted from accounts of those living at 53 Beck Road, Kieran Lyons (1978 - 1986) and Karen and Peter Bunting (1986 - to date). Additional excerpts from The Clash ‘London’s Burning’ (1977).Thanks: Karen and Peter Bunting, Lola Bunting and 53 Beck Road; Phil Coy; Michael Curran; Arantxa Echarte and ACME; Martin Hearne; John Kippen; Kieran Lyons; Chu-Li Shewring; King Squat; Holly Willats and Art Licks

Exhibitions and screenings: 'Commission and Commune', ACME Fire Station, London curated by Holly Antrum [2017]; 'HOUSE WORK', 53 Beck Road, London [2017]


CANWEYE { } (2016) and INCIPIT [2016]

Commissioned by Focal Point Gallery for a solo exhibition in 2016. Funded by Arts Council England and supported by Southend-on-Sea Borough Council and Southend Museums.

Camera: Frances Scott; Additional camera: Phil Coy; Sound recordist: Chu-Li Shewring; Sound recordist (voice): Kate Bland, Cast Iron Radio and Recording; Additional sound recordist: Adam Gutch; Additional crew (‘INCIPIT’) Camera: John Salim; Assistant camera: Roger Plumstead; Edit: Frances Scott and Phil Coy; Sound design and mix: Chu-Li Shewring; Music: Leo Chadburn; Cello: Anton Lukoszevieze (Apartment House); Violin: Aisha Orazbayeva; Viola: Richard Cookson; Script: Frances Scott; Voice: Michael Curran; The Young Architect: Ezra Coy. Filmed on location in Essex, Buckinghamshire, and Italy. Derek Jarman ‘Plague Street’ (1972), on loan from London Borough of Camden; reproduced courtesy Estate of Derek Jarman, Amanda Wilkinson Gallery, London. Archival material from Southend Museums Service collections. Extracts within script from Aldous Huxley, ‘The Devils of Loudun’ (1952); John Whiting, ‘The Devils: A Play’ (1961); Alain Robbe-Grillet, ‘Topology of a Phantom City’ (1978); and The Doors, ‘The End’ (1967), with reading adapted from Nico, ‘The End’ (1974). Titles: Fraser Muggeridge studio; Film processing and telecine: i-dailies. Thanks: Phil Coy; Joe Hill, James Ravinet, Ruth Hazel, Sharon Byrne, Hayley Dixon and all at Focal Point Gallery; Ellen Greig; John Salim; Southend Museums Service; Rosemary de Boise and the Canvey Island Heritage Centre; Jonathan Murphy and the London Borough of Camden; Jem Moorshead and Scenery Salvage; The White Bus; David Jones; Paul Eastwood; James Mackay; Raymond Dean; Kelly Large; and Jordan Baseman

Exhibitions and screenings: TACO!, London [2019]; Whitechapel Gallery, London [2017]; Mount Florida, Glasgow [2017]; Focal Point Gallery, Southend [2016]


The Star and the Glow Worm [2015]

Commissioned by AIR Central Saint Martins as part of 'Unannounced Acts of Publicness', ten artworks on ten days in Granary Square, Kings Cross during May 2015.


The Aphotic Zone [2014]

Supported by Arts Council England, Cambridge School of Art, Anglia Ruskin University and Block 336.

Camera, edit: Frances Scott; Sound design, mix: Duncan Whitley; Process, telecine: idailies; Script: Frances Scott, with excerpt from Arkady and Boris Strugatsky, ‘Roadside Picnic’ (1971). Thanks David Jones and Chris Aldgate

Exhibitions and screenings: KARST, Plymouth [2015]; Whitechapel Gallery, London [2015]; Block 336, London [2014]


Apex [2014]

Commissioned by Tintype Gallery as part of 'Essex Road', 2014. The project was supported by Arts Council England and Islington Council. Thanks: Teresa Grimes, Barb Wilson, Anna Lucas