‘On discovering what happens when the drawing and the lens meet and exchange their ways of expressing time, I felt I had discovered a piece of the early filmmaker’s delight in stasis and in motion. I wanted mythical time, that is, a circular, elemental, child-like sense of time to punctuate this space. As the hands repetitively attempt to tie and untie a thread, they initiate and structure time into a succession of objects, plants and wild animals, some naturalistic, others miniaturised and reduced to irreverent toys which play out a pattern of birth, death and re-birth. Interior and exterior lend their boundaries to create a magical world of childhood, though one which is solitary or contains absence. The imagination is the strongest presence, in which this sparsely defined space, though still and caught in time, is toppled by imaginary activity projected onto it like a transparency or cel fitting to its background template. All that remains of this template is the activity suggested by the original carpet, table, window, tree stump and the only enduring marker, the rocking chair. It this room was once a forest, the wooden rocking chair keeps it re-growing here.’

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‘On discovering what happens when the drawing and the lens meet and exchange their ways of expressing time, I felt I had discovered a piece of the early filmmaker’s delight in stasis and in motion. I wanted mythical time, that is, a circular, elemental, child-like sense of time to punctuate this space. As the hands repetitively attempt to tie and untie a thread, they initiate and structure time into a succession of objects, plants and wild animals, some naturalistic, others miniaturised and reduced to irreverent toys which play out a pattern of birth, death and re-birth. Interior and exterior lend their boundaries to create a magical world of childhood, though one which is solitary or contains absence. The imagination is the strongest presence, in which this sparsely defined space, though still and caught in time, is toppled by imaginary activity projected onto it like a transparency or cel fitting to its background template. All that remains of this template is the activity suggested by the original carpet, table, window, tree stump and the only enduring marker, the rocking chair. It this room was once a forest, the wooden rocking chair keeps it re-growing here.’