The result is ICEWORM, a film which marks the next stage of my career.

ICEWORM was never intended as a traditional feature film but rather as an experiment to see how I could make a feature length piece of immersive visuals. I chose very early in the process to make work beyond the limits of language, narrative and linear structure, and pulled from the cinematic heritage of Jodorowsky and Herzog. The inherent nature of digital editing meant I could treat each individual frame as through it were a painting, creating a film which could be stopped at almost any frame and enjoyed in isolation from the rest.

The film grew from an interest in Liquid data stores and the idea of how our collective heritage and identity might continue to exist into the far future. Using the basic structure of the water cycle as a foundation to build upon to consider how queer identities have survived through history and how will they continue into our future.

Naturally my interests in our interaction with nuclear technology and queer culture bleed into the liquid texture of the film, irradiating every droplet frame by frame. The title refers to Project Iceworm, the secret US nuclear bunker in Greenland exposed by receding ice.