WomenCinemakers, Special Edition

Page 100

Women Cinemakers meets

Rhea Storr Lives and works in London, United Kingdom

I propose an adequate film-language to speak about black identity by questioning how a body performs and how other bodies react. My work asks who has the right to speak about a given culture. Of Bahamian and English heritage, my interests centre around the inherent tensions of being in between two cultures. How do women of mixed race perform? How do we represent ourselves? There is often a sense of dislocation in my films; I frequently use digital and 16mm processes within the same work, treating film and digital recordings like bodies. I aspire for my work to have agency by laying bare the power relations of photography in the articulation of black culture, in short, image making as capturing. My work positions itself at moments of tension where images meet a resistance or are themselves resistive. I am compelled by those images which deny access, fail to articulate what they represent or don’t tell the whole story. Recent screenings include Hamburg International Short Film Festival, Germany, European Media Art Festival, Germany, International Women’s Film Festival, Germany, 34th Kassel Doc Fest, Germany, Alternative Film and Video Festival, Serbia, Aesthetica Short Film Festival, UK, Crossroads Film Festival, San Francisco Museum of Modern Art, US, Affinities, Or the Weight of Cinema; National Museum of African American History and Culture, US, Black British Shorts; ICA London. Rhea Storr gained an undergraduate degree from the University of Oxford an MA from the Royal College of Art.

An interview by Francis L. Quettier and Dora S. Tennant womencinemaker@berlin.com Hello Rhea and welcome to WomenCinemakers: we would start this interview with a couple of questions about your background. You have a

solid formal training and after having earned your BFA (First Class) from The Ruskin School of Drawing and Fine Art, University of Oxford, you nurtured your education with an MA in Contemporary Art Practice, that you received from the Royal College of Art: how did these experiences influence your evolution as an artist? In particular, how does your cultural

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