On Turning Up

Ed Webb-Ingall shares a work in progress screening of From Dolphin Close and discusses collaborative practices with Rhea Storr

  1. 2024
  1. Tump 39
  • Analogue film still capturing a natural environment. In the foreground there are yellowish flowers, which are out of focus. The photo is focused on the background greenery.
  • The film still shows a close up of a person's hands holding a smartphone and pointing to a map on their phone. The other person's silhouette is visible a little to the right. The photo is from an analog camera, colours are muted.
  • Analogue film still capturing a natural environment. In the foreground there are yellowish flowers, which are out of focus. The photo is focused on the background greenery.

Analog film still showing a man sitting on a small bench, looking at a piece of paper on the bench. He is dressed in long trousers and striped T-shirt. He is sitting in a natural environment, there are trees and bushes behind him, grass on the ground. The still has a reddish filter applied, distorting natural colours and giving it an older feel.

    18:30 - 21:00
    Thursday 24 October

    Artist, filmmaker and researcher Ed Webb-Ingall screens his current work-in-progress film From Dolphin Close, 2024, which explores the social dynamics and impetus of community formation.

    Shot on 16mm film with a Bolex camera, with support from artist Rhea Storr, Webb-Ingall’s new film follows a group of people in Thamesmead who have gathered to re-imagine a forgotten and rewilded Victorian munitions magazine hidden in their housing estate. The film documents the site as the artist listens to the individuals' recollections and reflections on their relationship with this unusual place, which was closed for 20 years and recently re-opened by local arts organisation, Three Rivers. Through anecdotes and encounters, Webb-Ingall explores what draws community members to get involved as well as some of the obstacles to joining in.

    Following the screening, Ed Webb-Ingall and Rhea Storr will discuss the making and thematics of From Dolphin Close, 2024, and how collaboration is enacted and questioned in their filmmaking practices.

    Storr’s work can be further encountered as part of AFI’24 at FormaHQ, through her collaboration with Nadeem Din-Gabisi on his film MASS. Webb-Ingall is responsible for the public programming of the London Community Video Archive, materials of which will be presented alongside AFI’24. From Dolphin Close, 2024, is commissioned and produced by Three Rivers Bexley, with funding and support from Arts Council England.

    DETAILS

    18:30 - 21:00
    Thursday 24 October
    Free entry

    rsvp@forma.org.uk

    FormaHQ, Peveril Garden Studios
    140 Great Dover Street
    London
    SE1 4GW

    CREDITS

    Commissioned and produced by Three Rivers Bexley, with funding and support from Arts Council England. Commissioned in response to Tump 39; a long term project working with people living in north Thamesmead, and beyond, to re-imagine a disused and rewilded Victorian munitions magazine as a new creative community space for arts and ecology.

    Ed Webb-Ingall is a filmmaker and researcher working with archival materials and methodologies drawn from community video. He often collaborates with groups to explore under-represented historical moments and their relationship to contemporary life, developing modes of self-representation specific to the subject or the experiences of the participants.

    In 2018, Ed completed a practice-based PhD at Royal Holloway University, where he carried out the first in-depth study of the history and practice of community video in the UK. Ed's research and film practice have resulted in opportunities to present, exhibit and publish his work nationally and internationally. He currently runs the public programme for the London Community Video Archive. In 2020, Ed commenced work on a book to be published by the BFI/Bloomsbury as part of their Screen Stories series, with the title ‘The Story of Video Activism’. His recent research looked at the role of video in response to the housing crisis and is in partnership with Peer Gallery, The Serpentine Gallery, Rule of Threes, Grand Union Birmingham, LUX Scotland and Nottingham Contemporary.


    Rhea Storr explores Black and mixed-race cultural representation with an interest in the in-between, the culturally ineffable, translation, format and aesthetics. Her work is often concerned with Caribbean diaspora in the UK. This includes an interest in representing Black subjects in rural spaces and the politics of masquerade. Frequently working in photochemical film practices, Rhea Storr considers counter-cultural ways of producing moving-image. She is currently a PhD researcher at Goldsmiths focusing on Black experimental filmmakers and the use of 16mm film.

    Selected exhibitions/screenings include: BFI London Film Festival, New York Film Festival, CPH:DOX, Blackstar Festival, Hamburg International Short Film Festival, European Media Art Festival, Museum of African American History and Culture, Somerset House, Whitechapel Gallery and Lisson Gallery. She is the winner of the Aesthetica Art Prize 2020, Louis Le Prince Experimental Film Prize and won the Royal Photographic Society’s Award for Creative Contribution to Art in Moving Image 2023.

    Related Projects

    The Gift of Blackberries (Summer 2024)

    Collaboration between Three Rivers Bexley, Rights for Weeds, Maia Magoga & Compost Mentis

    1. 2024
    1. Tump 39

    Tump 39: Community Compost Toilet Build with Compost Mentis (Day 2)

    Tump 39: Community Compost Toilet Build with Compost Mentis (Day 1)