My recently competed artist film, 'From our Mothers' Arms’ (2020) from the ‘Wellow’ project (2019-2020) has been selected for the 13th annual Southampton Film Week. This year the short film programme of twenty films will be available online via Vimeo from the 6th-15th November 2020.

'From our Mothers' Arms’ dwells upon place, ancestry, mortality and religion, triggered by the redevelopment of my late Grandfather’s Baptist chapel on the Isle of Wight. The film centres upon a telephone conversation between my mother and I made during lockdown, where she reflects upon my last visit from London before the enforced separation.

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.