The autiobiographical and the fictional are enmeshed in my practice, and lie intractable within a shifting combination of media and formats. I often use models and projections to generate representational spaces, and with this, text that may be recognisable as an art writing form, becomes another metafictional space – that of the art world. Most recently, video has come to the fore, since nuanced differences between the documentary veracity and archival montage can be extremely ambiguous, generating even more possiblity for mistaking the ‘real’. What is more my approach, via the video essay, enables me to consider the act of making art itself as a romanticised narrative and experience-based reality. I play this out in both in relation to mental and physical spaces by way of narration and locations, both manufactured, fantasised and found. These intentions affect my choices of medium directly, since the materiality of video formats from different eras can be used to invoke difference timeframes in a single piece. This brings issues to aesthetics and value to the work too, especially in relation to nostalgia and the internet. Life span, novelty, authenticity and reincarnation can be brought to bear on the content of the various fragments through the very means by which they are videoed, which viewers can retrieve through picture quality, colour, types of framing and so on. This way, I intend to mine the variously vocabularies of film and video genre to enrich the work. Each moving image chapter will be invented or reframed, offering clues and segues to the following and preceding fragment. This apparent linearity may well be purely illusory and often fall apart in the mind. This could be taken as a metaphor for my navigation of my role as an artist. When traversing a self-coding system of symbols, I necessarily look out for signs and coincidences – prime material for narrative. This implies the possibilty of delusion, which could play out as absurdity as well as serious critique. The self-positioning of such a project, and the attempt to describe that process of self-positing, is emblematic of the classic quest for knowledge, and perhaps an epistemological thriller is the aim.