Grace Baggott

When does a film stop becoming a film?

Throughout my practice I explore methods of using analogue materials and apparatus to construct a structural outcome.

Drawing inspiration from the words of Jennifer Reeves on analogue filmmaking: “I think it has a connection with the human body, the skin, the ageing, the imperfection, the colour, the beauty,” my work often highlights the importance of the relationship between the intimate and tactile characteristics of analogue filmmaking.

There is a continuous importance of process throughout my work which is intrinsic to the outcome of my art as well as meta and multi-dimensional outcomes process can create. I am fascinated by the unpredictability of analogue filmmaking and often use these failures and mistakes to materialise the embodiment between filmmaker and film. By engaging with analogue imperfection in sculpture or installation, my work alludes to the ontology of apparatus theory in the context of expanded cinema and extends to the capabilities of analogue apparatus and the limits of how filmmaking can be explored. I question the way in which film exists in a cinematic versus exhibition space allowing my work to exist in a state of creative malleability.