Remember Me is a dark, obsessive and emotive treatise on death. Its aim is to explore the intimate, personal and often secret relationships that people have with mortality and loss. The tape uses original and found footage to capture the complex web of emotions which surround death and to create a passionate journey through difficult private territories.

Repetitive loops of images - sampled from: the 1955 Hollywood film "The Ten Commandments", international TV news broadcasts reporting the summer 2006 war in Lebanon between Israel and Hezbollah, and a tourist video documenting a lively belly dancer - are synced up to a hardcore techno music track, creating an apocalyptic Middle East horror rave party, revealing contradictions and pathologies in human myths and patterns of behavior.

‘RECITATION' is an audiovisual piece examining oral traditions and their relationship with text based information and belief systems , in particular religious texts . It incorporates computer animated text / graphics and footage capture by a mobile phone camera. Inspired by and utilising a poem by Jarmain Patrick, which was performed during a development week which brought together visual, spoken word, and audio artists. This development week led to a number of short films commissioned by B3.Media, Brixton for the identities.tv project.

Made over six years in the hotels of six different countries, Hotel Diaries is a series of video recordings which relate personal experiences to the current conflicts in the Middle East. In these works, which play upon chance and co-incidence, the hotel room is employed as a 'found' film set, where the architecture, furnishing and decoration become the means by which the filmmaker's small adventures are linked to major world events. Works in the series include Frozen War (Ireland, 2001), Museum Piece (Germany, 2004), Throwing Stones (Switzerland, 2004), B & B (England, 2005), Pyramids/Skunk (The Netherlands 2006/7), Dirty Pictures (Palestine 2007) and Six Years Later (Ireland 2007).

"In 1966, following the collapse of a film which I hoped to develop with Albert Finney’s production company, on the 1916 Easter uprising in Dublin, I was approached by John Heyman, a British artists’ agent, to make a film based on an original screenplay by Johnny Speight, which dealt with the influence of Steven Shorter, a pop star in the 1960s. American novelist Norman Bognor and I adapted the script, which we retitled Privilege, to emphasize the significance of Steven Shorter as an allegory for the manner in which national states, working via religion, the mass media, sports, Popular Culture, etc., divert a potential political challenge by young people. In case this theme appears exaggerated, it is important to keep in mind that it was set in the ‘swinging Britain’ of the 1960s, and was prescient of the way that Popular Culture and the media in the US commercialized the anti-war and counter-culture movement in that country as well. ‘Privilege’ also ominously predicted what was to happen in Margaret Thatcher’s Britain of the 1980s - especially during the period of the Falkland Islands War". Peter Watkins

A provocative montage of eyewitness images from the streets of Athens, sourced from youtube, is performatively revoiced by the artist using just the sounds ph- and p-, creating a close-up personal response to a highly mediated event, as well as a focus on certain key sounds in that situation beyond/nearer than the general crowd and sirens. The Greek character ?(phi) represents the so-called 'golden ratio' and is a neverending ideal. By constant voicing of this letter, the soundtrack of the video highlights the concept of constant movement in the context of direct action and social change, as well as the shadow side of that - the state doctrine of ceaseless linear progress and 'civilization'. There is also reference to Atrocity Exhibition, considering how we experience and interpret 'riots' in the highly mediated present, to explore and complicate 'moral' responses to street violence.