Sarah Pucill’s films and photographs explore the mirroring and merging we seek in the Other; a sense of self which is transformative and fluid. At the core of her practice is a concern with mortality and the materiality of the filmmaking process. The majority of her films take place within the confinements of domestic space, where the grounded reality of the house itself becomes a portal to a complex and multi layered psychical realm. In her explorations of the animate and inanimate, her work probes a journey between mirror and surface, in which questions of representation are negotiated via the feminine, the queer or the dead.
Since completing her MA at the Slade in 1990, Sarah Pucill has been making 16mm films that have been funded by the Arts Council, London Production Fund, Carlton TV and the AHRB. Her work has been exhibited in museums, film festivals and galleries internationally, and has won awards at Oberhausen and Atlanta festivals. Her retrospective screenings include… read more
Sarah Pucill’s films and photographs explore the mirroring and merging we seek in the Other; a sense of self which is transformative and fluid. At the core of her practice is a concern with mortality and the materiality of the filmmaking process. The majority of her films take place within the confinements of domestic space, where the grounded reality of the house itself becomes a portal to a complex and multi layered psychical realm. In her explorations of the animate and inanimate, her work probes a journey between mirror and surface, in which questions of representation are negotiated via the feminine, the queer or the dead.
Since completing her MA at the Slade in 1990, Sarah Pucill has been making 16mm films that have been funded by the Arts Council, London Production Fund, Carlton TV and the AHRB. Her work has been exhibited in museums, film festivals and galleries internationally, and has won awards at Oberhausen and Atlanta festivals. Her retrospective screenings include the Tate Britain, The Lux and 291 Gallery. The photographic image has always been central to her filmmaking process. Her recent images from Stages of Mourning are included in a publication on women’s photographic self portraiture. —Canyon Cinema & luxonline