Sound Designer
Hull, England, 1970. In a run-down commune in a tough port city, a group of social misfits - mostly working class, mostly self-educated - adopted new identities and began making simple street theater under the name COUM Transmissions. Their playful performances gradually gave way to work that dealt openly with sex, pornography, and violence. COUM lived on the edges of society, surviving on meager resources, finding fellowship with others marginalized by the mainstream. At the core of the group were two artists, Genesis Breyer P-Orridge and Cosey Fanni Tutti. As their work evolved, Cosey embarked on a career modeling for pornographic magazines, which she claimed for herself as a conceptual artwork, using it to forge a specific position in relationship to 1970s feminism. In performances, Genesis pushed himself to extremes, testing the limits of the human body.
Editor
The five-part film’s narrative presents a wealthy European family who are unexpectedly confronted by a mysterious manifestation, ‘The Object’, which suddenly appears in the living room of their country home. This imposing figure seems to have a profound effect on the conduct of each individual family member. At night ‘The Object’ eats pages from ideological texts, which it subsequently spits out again. Owing to this, the father figure, ‘Daddy’, changes radically from an elitist with liberal economic convictions, to someone who goes in search of collectivist ideals. The Ourhouse series commenced production in 2010, with the latest episode completing production in 2016.
