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This PhD by published work, consists of artefacts that can be viewed online on this website, and are accompanied by a written text submitted as paper copies. This text is also available for download as a PDF.

The design of this presentation, combining visuals with text, is aimed to enable a viewing/reading experience that allows the spectator to watch the artefacts as stand-alone pieces as well as becoming familiar with the method that has been developed as a result of the making of the pieces. There are therefore two strands of ‘visual illustrations’ offered in this submission.

There are photographs in the text that document the process of making, providing visual accounts of the practice of the Wanderlust method, with images of the journeys undertaken and photos witnessing the filming on location. Additionally, there are the Landscape screendances as artefacts, which have been produced by applying the Wanderlust method, and which can be viewed as videos on the website. References to specific moments in the films are made throughout, to support the understanding of specific compositional tools or techniques applied that I am proposing. This combination of visuals and texts, is designed to create a viewing situation in which the viewer can witness the iterative process of the development of the method and identify the proposed techniques in the artefacts.

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Since the creative works cannot be experienced by the viewer in its original set up which has taken place in the past, in the café’s, the screening venues, the theatre or the gallery, they are displayed on this website as an online portfolio. 

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The advantage of most of the pieces being in the medium of film and not an ephemeral performance is, that the viewing experience although in a different format than the original one, offers the opportunity to view the work from an individual context. This personal set up, allows to view the work as an experience; a different one to the original presentation, but since it is only the size and type of screen and the surrounding context that has changed, and not the film itself, I hope that the work provides soulful space that can be entered when viewing.

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The works were screened on either big TV screens, vast cinema screens, theatre gauzes or gallery walls. Therefore, it is recommended to view the films full screen with good quality sound, to allow for the visuals to develop a resonance of the original screening intention. Additionally, viewing the online pieces with an internet connection that can stream high-definition video is suggested.