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Raining on the Sun , woodcut print 1/6, Clinton Kirkpatrick, 2013 While feeling drained and conflicted at the moment, it is a good time to look in detail at some artwork in my life. In early December I went to Clinton Kirkpatrick's open studio sale and bought a couple of his woodcut prints. I connected with Clinton initially through his involvement with the Amabie Project curated by Johanna Leech, and we spoke for the first time when recording an episode about his work for Audiovisual Cultures Podcast nearly two years ago. I have followed the development of his characters and methods since and always feel enriched by our conversations.   The pictured image Raining on the Sun is one of two woodcut prints I bought after pouring over a great many of Clinton's paintings and prints that morning. I was focused on finding something I could bring to Newcastle without getting mangled in my hand luggage as well as something that spoke to me. I think throughout the whole of my life I ha

Thanks to Andrew's parents adding us to their Netflix account we've been catching up on recent films released on the platform, notably Glass Onion (dir. Rian Johnson, 2022) and The Wonder (dir. Sebastián Lelio, 2022). The Knives Out films, as enjoyable as I find them, don't need any help from me. The Wonder , however, is a film I feel ought to research and write about, and it is that feeling moreso than the film itself that I'll share thoughts about for now. In 2016 while I was a fixed-term lecturer in film at Lancaster University I designed a project with which to apply for a Leverhulme early career fellowship in the hopes of getting myself a job remaining there and developing my career in a more solid direction. It was a study of contemporary transregional moving image production across Britain and Ireland. It would have been an expansion of my PhD research on these practices in Northern Ireland since the Good Friday Agreement in 1998 out to and across the other smal