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AND IN THE SOIL, THERE BE MIRRORS (2021)

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A film by Hollie Miller and Sam Williams
 

Single Channel Video Installation, 29 Minutes 17 Seconds, HD, B&W, Sound

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Solo Exhibition: South Kiosk, London (16 - 22 Aug 2021)

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Screenings: B3 Moving Image Biennale, Frankfurt 15 - 23 Oct 2022), Cube Cinema, Bristol (20 Oct 2022), Zero Carbon, Guildford (27 Jan 2022) & Farnham Eco Cinema (26 Apr 2022)

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Supported by Arts Council England, Arts Partnership Surrey and Surrey Hills Arts

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Featuring: Tom Heyes, Jia-Yu Corti, Andrew Downes, Temitope Ajose Cutting, Karen Callagan and Orlando the kestrel

Music: Craig Scott
Camera: Alexandra Boanta, Hollie Miller and Sam Williams
Costume: Hollie Miller and Sam Williams

Supporting text: Daniella Valz Gen

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And In The Soil, There Be Mirrors is a site-responsive dance film set across a selection of historical locations in the English landscape. The work responds not only to the architecture and former life of these sites but also counteracts a heritage version of the landscape with a Gothic and mythological vision. A series of figures whose traits are drawn from nature and English folklore inhabit the site, possessing a sense of the uncanny and discarding the pastoral, nostalgic images of the countryside that people hold on to. 
 

“Shafts of sunlight cut through ruins, catching the surface of bodies whose sinewy, peeling movements lean and ache into space and ground. Incongruous costuming - an armoured glove and a satin dress, a silky worm and a scaly vest - set an unsettling scene. Pairing a brooding sound score with tense, elongated camera, Miller and Williams have created a compelling film that choreographs a strange asynchronous chorus of human and non-human forces.”

Victoria Gray
 

“Miller and Williams collaborate to create an intriguing new work with an exceptional cast of performers. Gothic elements, birds of prey, anachronistic costuming, curious moving and disquieting sounds haunt and intervene upon ruins, relationships and a rural idyll. Legacies of British counter-cinema linger and unsettle in this disarming new work.”

Joe Moran

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