'Syncopation' (2017) from the 'Twenty' project has been selected by Video Art Miden, Greece for its February online video art screening programme, entitled 'Just before the earthquake' curated by Evi Stamou and Pietro Radin. The programme will be accessible from 1st-28th February 2021 at the Video Art Miden YouTube channel.

This video was derived from 'Home: A Structure on Trial' by Polish poet, Rafał Gawin. The poem took on autobiographical resonance, symbolic of my partner’s recovery from heart failure, with the home representing a place of refuge, whilst also becoming claustrophobic. The flickering sunlight, reflected upon the floors and doors is indicative of his irregular heartbeat, with correlations drawn between the structural dwelling and its signs of human presence and absence.

The selection "Just before the earthquake" consists of 10 videos that bridge the gap between film and literary image. Composing works that successfully mimic the simplicity of the short poetic form, the creators present visual haikus and epigrams, cinematic short stories and imaginative transcriptions of lyric poetry on the screen, while anthologizing aspects of our old and new normality, from the paradoxical magic of everyday life imagery to the moments of existential agony that give birth to the political impasse and oppression.

My experimental film, ‘Wellow’ (2020) will be installed as a looping projection in the Clayden Gallery at Quay Arts in 2021. The 'Wellow' project dwells upon place, ancestry, mortality and religion, triggered by the redevelopment of my late Grandfather’s Baptist chapel in the rural village on the Isle of Wight.

Drawing upon T.S Eliot’s poem, ‘Four Quartets’ (1935-1942), correlations are made between the temporality of human life, the changing seasons and my ancestor’s connection to the local landscape. This autobiographical work considers the role of faith within my mother’s family and the generational differences in their religious practices and attitudes.

A sense of loss – of the building, of traditions, of heritage and of community is inherent, as I gather and reflect upon the memories and artefacts that are left behind. The self-reflexive exchanges between my mother and I, recorded during the coronavirus outbreak, not only allows the recollection of past experience, as well as the forgotten aspects to emerge, but also reveals the construction of the filmmaking process itself.

The ‘Against’ (2014) video from my ’Translucence’ project has been selected by Void Collective for their online exhibition, 'The New Black'. Featuring 27 artists, the works in this exhibition all respond to ‘The New Black’, a titled borrowed from Darian leader’s 2009 publication.

The 'Translucence' series reflects upon mortality, bereavement and remembrance through an interpretation of Donna McKevitt’s musical score (Warner Classics, 1998) and the writings of the British filmmaker, Derek Jarman.

'Against'(2014) plays with the perception of family memory through a series of repetitive gestures, performed by the artist in response to Mckevitt's score. The desire for attachment, coupled with an unsettling sense of separation is implied as Waterman attempts to embody the projected images she took of her grandmother, just before she died twenty years ago.

Two photographs from ‘Sermon’ (2008) from my ‘Waste Land’ project (2005-2010) have been selected by Void Collective for their online exhibition, ‘Lost in Isolation’. Featuring 37 artists, the artworks which have been made during the Covid 19 crisis, or relating to, times of isolation, highlight how art becomes even more meaningful; connecting us through these intimate and collective times of solitude and grief.

'Sermon' refers to Eliot’s appropriation of Buddha’s Fire Sermon, which warns against the fires of passions that destroy people’s lives; drawing parallels between Eliot’s troubled marriage and my own experience of parental divorce. The re-staging of imagined unfaithfulness, emotional responses and haunting reminiscences are ‘acted out’ through performed photography. These two metaphorical ‘Waste-land-scapes’ respond thematically to the text, emphasising the way in which I visualise traumatic experiences through the means of literary narratives to create an elusive form of self-portraiture.

The extracted quotations from this part of the poem, 'Her brain allows one half formed thought to pass' and 'I can connect nothing with nothing’ poignantly resonate with the rollercoaster of emotions and sense of uncertainty incurred by the coronavirus lockdown.