Four Chambers

There's something so special about adult films pre internet digitization, VHS tapes copied and circulated in your community, mailing lists and screening parties and brown paper bags were the distribution model. The intimate privacy of a time capsule contained in a black plastic film cartridge, hidden in the back of a drawer, labelled as something inconspicuous so as not to arouse suspicion - hidden treasure.

The period of time when the sun falls below the horizon line and tears of blue and orange gradiate the sky. I’ve always called this indigo hour but apparently it’s more commonly called blue hour and the Scottish call it the gloaming.

The intersection of Femininity and The Grotesque, when femme-ness, glamour, glitter is exaggerated to the point of excess, stomach-turning glistening, gluttonous, grossness. Gorgeous with emphasis on the gorge.

We record, broadcast and replicate our images on an unprecedented scale. Observing and seeing.

Our orgies are acts of ritual celebration that against the odds, somehow, still here in the writhing and intertwining of smoke, sweat and bodies.

A meditation on obscenity, censorship, the body, excess and restriction, fakery and reality. The series is based loosely around the alchemical process of The Great Work/ Magnum Opus - the process of turning base material into gold, the philosophers stone.

The process of turning base material into gold, the philosophers stone. A metaphor for the way certain acts and bodily materials are treated as obscene and base and how powerfully transcendent they can be transforming them into elixir, into gold, something precious.

Indulgence in it's first form

Porn aesthetics and archetypes are fascinating, sex on film has always been innovative, at the forefront of pushing technology and creativity. Being pushed to the margins means you’re forced to make new rules and create your own visions, processes and traditions. Porn world developed its own visual language, signs and semiotics.

Set in the 1600s, a group of women are filled with an uncontrollable desire to run, touch, and tear themselves apart

Transgression in the form of unyielding bodies melding together and the rebirth of self it causes

An exploration in narcissistic desire, a kind of autoeroticopsis in being the subject of desire for yourself.

A Botticelli made flesh, two artist’s models in the studio sitting for a painting, laid out in the sun. Marble statues draped in sheets, wetness and warm summer air, gold, green grass on skin, the hum of insects.

Treating bodies like botany, in intense, investigative close up, scientifically graphic, reveals them at their most intimate but also maybe their most anonymous and dissociated.

Tender kisses, sharp nails, and desire laid out in a bed of flowers

You're watching everything pass you by but you're separated, removed from the outside world by a pane of glass, sealed in your own private reality. Time moves differently inside. You're able to observe and be observed by other drivers that pass but you're each just watching from inside your own tiny parallel universes. Surrounded by these endlessly travelling lights and shadows, ghosts of the outside creeping in. Inside a moving prism of glass and mirrors reflecting cycling scattered images from another time and another place.

Barriers are an augmentation not just a limit - they have potential for new sensations. Bodies take on different qualities. Smooth, shiny tactileness. Cold or warm when in contact with skin. Transmitting sensation without faithfully replicating it.

The history of traditional portraiture was about status and branding. With Atrophy Portraits we break down the layers of constructed perfection. These films are an exploration of power and submission, how the boundaries between those roles might initially seem fixed but can be more fluid. What it means to be the subject, to be observed and to meet that gaze. This film is a portrait, designed to be watched on a portrait screen, for example your phone. A portrait needs a frame and our screens are our frames.

The act of penetration at its core is invasion, sometimes intensely and acutely desired and begged for and sometimes more complex. The sensation is intense and can be entirely changeable depending on the context in which the act takes place. This film is about invading and consuming. The monotonous, sterile mechanics of the fuck machine is hypnotic, the unwavering noise and repetition of movement that’s entirely oblivious to desire or want. It continues to thrust and fuck regardless.

The role of submissive, and the potential for transcendence in consensual degradation is powerful. Endurance is powerful. Subverting perfection is powerful.