My films are character studies of the psychologically damaged and the facades behind which they hide. CIVET follows Deke Lape, an archetype most often portrayed as the antagonist of a story, struggling to assuage internal pain without any narrative judgment of his actions. The greater the needs the greater the suffering in fighting to meet them, regardless of method.
My work also explores visions of Hell through life-size, stop motion puppet animation and my characters’ wanton entry into it. It is a distressing irony that via punishment and unique forms of masochism, therein is found what is desired most. From painstaking stop motion is created surreal netherworlds which abruptly drag the viewer into another realm to face horrific creatures.
Theatre theorist Antonin Artaud professed to awaken those repressed feelings born of damage in the audience. To do so the artist must endure them first, through their process and performance. My own life choices have thrust me into harm by many horribly damaged individuals, and these experiences infuse themselves in my work. As an actor, CIVET was psychologically taxing yet necessary to transfer those emotions to the audience.
When the science fiction imagery, futurism and special effects are stripped away, what must remain is a story about characters that change, even devolve. Ultimately it is about giving a face to the most painful of all possible scenarios, forcing the viewer to repeatedly confront what they have witnessed.