My work explores the sculptural, ephemeral and temporal qualities of the moving image. I re-stage and repeat the tension between memory, sensory structures and film.
Within an analogue-cued but digitally-framed field, abstracted visual and sonic phrases are drawn from found and/or filmed footage, re-shaped and transformed. Human gesture is a constant throughout, often only glimpsed in short takes and loops. Sound is sculpted as flows of intensity, bending and coalescing to the object and its surface.
Fleeting and elusive, these rhythmic non-linear interruptions extend and shrink the chasms between time and image. Spaces for new fragments of meaning are created.
Grounded by structural film strategies and existential concerns my boundaries are elastic and my freedom of action limitless.
Colvin’s work studies the ‘depiction’ and an understanding of it, using the things and emotions that might surround its subject. By pointing to the thing off-stage, in the mentioning of something about to appear she catalyses a presence, a consciousness – Modern Edinburgh Film School.
Colvin has an intrinsic interest in examining the world and developing meaning through unexpected visual and lyrical synchronicities – Stephanie Hanor, Director Mills College Art Museum.