ABOUT:

Daisy Dickinson is a London-based director/visual artist specialising in experimental films, music videos and live performance work. Her medium is video and stretches to live visuals, video installation and stop motion animation. She is one half of audio/visual collaboration ‘Adrena Adrena’ with ex-Boredom’s drummer E-da Kazuhisa and is currently working as a visual addition to 90s post-rock group Seefeel. Dickinson’s visuals have been described as ‘magmatic and sulphurous, cosmological and transcendental, drawing attention to the wonder of the earth and our sensuality on it’.

Dickinson’s visuals have been described as ‘magmatic and sulphurous, cosmological and transcendental, drawing attention to the wonder of the earth and our sensuality on it’.

CONTACT:

info@daisydickinson.co.uk


BEHIND THE SCENES

PRESS


Awards/ Nominations:

  • Official Selection for London Short Film Festival 2017, UK

  • Official Selection for Delete TV Film Festival, 2017, UK

  • Official Selection Zoom Zblizenia Film Festival 2017, POLAND

  • Official Selection BFI London Film Festival 2016, UK

  • Official Selection New York International Film Festival 2016, USA

  • Official Selection for BAFTA Qualifying Aesthetica Short Film Festival 2016, UK

  • Official Selection Encounters Short Film and Animation Festival 2016, UK

  • Official Selection for LA Underground Film Forum 2016, USA

  • Official Selection for London Experimental Film Festival 2016, UK

  • Official Selection Vienna Independent Film Festival 2016 - ‘Best Experimental Film’ + ‘Best Artistic Direction’, AUSTRIA

  • Official Selection for Raindance Film Festival 2015, UK

  • Official Selection for Bornshorts Film Festival 2014, DENMARK

  • Winner of Sony Entertainment’s Bass Music Awards 2014, UK

 

Screenings:

  • Memory & Imagined Landscape, 2017, JAPAN/ UK

  • Screened at Close-up Cinema, 2016 as part of " Take Two: Le Quattro Volte / To the Wolf", UK

  • Screened by Bristol Experimental Expanded Film’s Event Celhlapod at Supernormal Festival 2016, UK

  • Screened at Festival 23, 2016, UK

  • Screened at Fort Process Festival, 2016, UK

  • Screened at Puppy Fat Film Screening 2015, UK

  • Screened at Portobello Film Festival 2013, UK

 

Visual performances:

  • Audio/ Visual performance at Splice Festival 2017

  • Audio/ Visual performance at The Hope w/ Sculpture, 2017, UK

  • Live visuals for Seefeel Tour, Spring 2017, FRANCE/BELGIUM

  • Audio/ Visual performance at New River Studios w/ Immersion (Wire, Minimal Compact) & Karel Doing 2017, UK

  • Audio/ Visual performance at Cafe Oto w/ Grimm Grimm, Le Volume Courbe & Pollyanna Valentine 2017, UK

  • Live visuals for Seefeel Tour, Winter 2016, UK/GERMANY

  • Audio/ Visual Performance at New River Studios with Sculpture and OvO 2016, UK

  • Audio/ Visual performance at The Green Door Store with Immersion and Xaviers, 2016, UK

  • Audio/ Visual Performance at Zorofest 2016, Leipzig GERMANY

  • Audio/Visual Performance at The Hope w/ Acid Mothers Temple, 2016, UK

  • Special ambient Light Show at End of the Road Festival, 2016, Wiltshire UK

  • Audio/Visual performance at Fort Process Festival, 2016 ,Newhaven Fort UK

  • Audio/Visual performance at Supernormal Festival, 2016, Reading UK 

  • Audio/ Visual performance at Greenhouse, 2016, Berlin, GERMANY

  • Audio/Visual performance at Cafe Oto w/ Pika-Makoto, 2016, UK

  • Audio/ Visual performance at International Festival of Projections, 2016 UK

  • Audio/ Visual performance in Tokyo for Bang the Noise, 2016, JAPAN

  • Audio/ Visual performance at Japanese Christmas Market, 2015, Berlin, GERMANY

  • Live Visuals for Grimm Grimm tour, 2015 ITALY

  • Live Visuals for Grimm Grimm at Cafe Oto, 2015, UK

 

Exhibitions:

  • Private view of Further Away at Copeland Gallery, Peckham, June 2017, UK

  • Private view of Assemblage at Haymarket Hotel, Mayfair, September 2016, UK

  • Dark Arts Exhibition at Candid Arts Trust, Angel, October 2016, UK

  • FOURTH exhibition at Brixton East, June 2016, UK

 

Reviews:

 

"The centre of the stage was taken up by projections which, always simple and often semi-abstract, never stole the limelight from the music. It was more like watching a trio, just one at work on different senses to the others. Pretty soon you weren't taking in the sights and sounds as separate elements at all, but hand been induced into a kind of synaesthesia. And if that seems like we're reverting to Sixties terminology like 'trip' we might as well go with it.... it felt like a trip (man), like being taken through some other reality then dumped back in ours at the end."

Gavin Burrows (Lucid Frenzy)

https://lucidfrenzy.blogspot.co.uk/2016/06/the-encounter-piracy-makoto-adrena.html

 

The act is visually intriguing before even starting, with a giant white balloon hanging above Kazuhisa’s drum kit. This planet-like screen has orbited various music and film festivals throughout 2016 and is accompanied with a DVD release featuring many of the images of a drum falling down a rocky river that were on show here.

For this particular performance the ball shimmers between galactic clouds, earthly terrains, volcanic heat, and glacial iciness. The set begins nocturnal and dense, the balloon a particularly luminescent moon, but as the initial sludginess of Kazuhisa’s drumming floats through into a more electronica and jazzy percussive splash, Dickinson’s projections become magmatic and sulphurous, psychedelically cosmological, and thawed with ice. The music and visuals don’t so much flow as spin and expand like the galaxies, but as the performance comes to its close, the aforementioned images of drums rolling down an English countryside rocky stream emanate along with accompanying percussive downpours.

The performance is both elemental and epic, drawing you into its transcendental rhythmic and visual orbit before landing you in the grounded and earthly realm of the physical drum hitting the rocks in the splash of a river, drawing attention to the wonder of the earth and our sensuality on it. Undoubtedly the visual aspect is preeminent here, which is not to say that the audio is submissive, but more to say that its purpose is to accentuate the terrains and cosmologies of the shifting visual globe. Indeed the crescendos, jilts, spaces and crashes of the drumming weave into the visual to elevate and embolden the overall grandiosity of the collaboration.

William Barns-Graham (Fluid Radio)

http://www.fluid-radio.co.uk/2017/01/audio-visual-session-sculpture-adrena-adrena-ovo/