Something that is fundamental to me in any film I make is that the information it presents should be suspect and its construction should be made evident.”  - John Smith, 2001
I’ve worked with several different materials and processes, but I have always thought of myself as a film maker. The camera as a tool to capture a document of a scenario, the digital editing of the document and its final rendered duplication, these all inspire and intrigue me. The journey of formats the image takes in a digital recording is so peculiar and complex compared to how simple it is to press record. The work I create centres around the transformation of images to objects and objects to images. Layers upon layers of document, to render, to image, to object.
White Project Space (2019) and the objects that have arisen from it explore structures of layers; the metal RSJ holding the roof up as a starting point, then to the wooden RSJ that couldn’t even hold person, then to the animation of improbable falling that is intersected by a real-fake cardboard RSJ. There is a playful nature to all the layering of dimensions, light and impersonated material. Taking one iconic structure from the environment I work within, the castellated RSJ, and rendering it in card, MDF, birch plywood, CGI and light to underline the relationship between the original and the copy, the document and the object. The reinstatement of the full-scale RSJ structure turned on its head to connect with the original is the final connection in the loop. Using the original metal RSJ as both literal support and theoretical support. Without the original my beam would collapse, from 12 feet in the air it would fall to a stunted idea with no basis.
The same investigation into layering is found in Midday Wednesday (2019). The phenomenon of travelling through layers of digital information is documented in video footage, screen recordings and 3D digital renderings. The work investigates the relationship between what is created in the digital studio and the process of making within a digital space, revealing the journey it has taken. The editing and use of ‘real’ audio through-out highlights the intersection of the physical environment and the digital environment that the work was created within. Uncovering an entwining of interfaces that occur when making an immaterial space containing computer generated objects, while also occupying a real physical space. Titled Midday Wednesday, to bear the everydayness of slipping between navigating real space and digital space, but also the everyday things that influence me when making the work.
Split Lips & The Doorway Dwellers has been an ongoing project since 2017. I created a fake band with a real music video and ‘song’, Passenger. I wanted the idea of this band to be present in the mind but not present in existence. I pasted posters on street-lamps and phone boxes, advertising the fake band, playing a tiny prank that I only understood. The idea behind the work is still centred around something existing in multiple layers, dimensions and formats. The band was real when you experienced the video or saw the poster but dissolved away when these interactions ended.
I intend to keep continuously collecting video footage and put more trust into my intuitive editing ideas. Sound and its relationship to the image is also something I plan on investigating further within my practice.

Instagram: @samturff
Youtube: Sam Turff

Corner To Corner, BA Fine Art Degree Show, UCA Canterbury, June 2019 
FAB LAB, The Brewery Tap, Folkestone, March 2019
Vacuum: Space Devoid Of Matter, UCA Canterbury, April 2018
Cornered, Canterbury Cathedral, March 2018
Garage Show, 36 Westgate Close Garage,  February 2018
Yellow, UCA Canterbury Project Space, March 2017
Group Installation, UCA Canterbury , March 2017

BA Fine Art , UCA Canterbury, 2016 – 2019
BTEC Art & Design, Havering College  of Further and Higher Education, 2012 -2014