Neath is a multi-discipline artist who lives and breathes in the world of film. Patiently waiting for inspiration from the ideas and imagery that film has the power to deliver from screen to thought. Investigating the fabric and conventions of film, what makes it tick, pulling it apart through animation and the manipulation of video and digital image. With the notion of handmade at centre of his practice he’s work and low-fi aesthetic.
His earlier practice explored the myth of conquest; the Western. Working with cliché to explore through the construction of cardboard and balsa model miniature towns, devoid of life, ever-changing in form as the models disintegrate, new smaller and more intricate versions taking their place that act as film sets to be photographed, filmed and animated. More recently his work has matured to responded to more formal and material qualities, which are still inspired film.
He has explored the effects of his practice being affected by the UK’s first lockdown in 2020 and A Beautiful Day in the Neighborhood (2019) dir, Marielle Heller and Rear Window (1954) dir, Alfred Hitchcock. The Nightmare Before Christmas (1993) dir, Henry Sellick saw a shift in focus from cardboard to balsa wood to produce a series of layer based sculptures that are predominantly horses in motion that represent my anxiety levels increase to a degree that I need to refer to my CBT that has allowed me to produce increasingly more complex work.
Throughout his practice he has been inspired by the work absences found in the work of Thomas Demand, and the atmospheric toy photography of David Levinthal. As his own work begins to mature by continuing to improve and push making skills in each new work that’s produced, wanting to grow as a maker with recycled cardboard and balsa wood that have been present throughout his body of work.