The Flower Borg (2017)
The Flower Borg (2017)

Lin-D with flowers. Analog photography, self processed.

Self Portrait (2019)
Self Portrait (2019)

Blurry Perspectives (2019)
Blurry Perspectives (2019)

The Flower Borg (2017)
The Flower Borg (2017)

Lin-D with flowers. Analog photography, self processed.

ARTIST STATEMENT

Searching for greater meaning in absurdity.

Experimenting with stereotypes is what drives my filmmaking. Mixing non-traditional plots with fantastical elements and abstractions is integral to my story telling style. I am passionate to write about characters who exist in recognizable Canadian landscapes, characters who are socially isolated or different, who subvert stereotypes, or battle with difficult moral dilemmas – dilemmas that address the ideologies we take for granted in our society, that sometimes lead to more harm than good.

 

Primarily my films are driven by thematic content, over character development or plot. I am attracted by themes of dystopia, death, dreams, murderers and psychopathy. To facilitate the thematic content in my work, I place visual barriers between the camera and the actor or subject (for example, a reflection, veil, or makeup – anything that distorts the image). I use discordant focal lengths to create purposefully blurry images and I design storytelling images that cut up the visuals into smaller shapes.   Often I use tighter camera shots that do not show the actor’s full form in order to visually distort the human body. Sometimes I will contrast these distortions with extreme wide shots that make the actor look extremely small in order to convey sensations of psychosis and loneliness. Saturated colour palettes and surreal comedy are other elements I use to convey my own questions and explorations of existing social realities. My methods enhance the recurring themes of isolation, loss, and claustrophobia in my films. 

 

The ecological and social responsibilities of my filmmaking practices are a major concern for me. I practice eco-friendly film production by pooling resources, planning time-efficient shoots, and recycling materials across multiple films. My films provide a personal commentary through the characters about the implications of abuse towards people and towards the environment. Many of my stories are set in post-apocalyptic environments, in which humans have already abused the earth to a point beyond repair, and now are left to live with the consequences. I like to create characters who are hopelessly tied to the gears of the machine, ultimately leading to their downfall. For example, in one of my films a girl is so consumed with her own vanity she dies from the obsession. Another film I made in 2018 is set in a post-pandemic society where a girl gives birth to an egg, fights with the silent racism she feels towards people who are half-bird, and then eats her own bird baby when she can’t overcome her shame. 

 

I am also dedicated to exploring villains – the characters who we would otherwise love to see fail or meet their demise. From a young age my favourite characters in Disney films were always the evil witches, and this is true still today. I am fascinated with exploring villains as protagonists, but not in a way that necessarily makes them “good,” even from their own point of view.  I explore this moral content through my film characters, as it is generally a part of our natures we suppress – but a part that we all possess. We must unlearn unhealthy biases by becoming aware of them and then learning and listening from those around us to incite change. By exploring cold characters and themes through a lens of fantastical and absurd dark comedy, I am searching to understand the ways that we, as a society, deal with pain and hardship and grow from it. Revenge of the Supermom features a bit of a villain in every central character – nobody is a hero here, and we can learn from their mistakes.