I had been working with videographer Conor Diggin
on this idea of disrupting the viewer and interrupting it with more of a sensory overload. It became quite organic this idea of focus, using a spotlight to effectively create a sense of adrenaline through sound too – hitting all senses. The space really was part of a local furniture store very close to my studio and we wanted it to feel industrial and honest. Again, a slight nod to the community around me.Ray Stack
, who is a lighting specialist was playing with the lights in between takes and there was an eye effect iris and I thought it looked very interesting and made sense for the story of the video. I felt like for the collection to be able to breathe we did need some kind of break. I had been watching some visual references and I came back across an old scene from Nicolas Winding-Refn’s The Neon Demon
. In particular, it was a nightclub scene where a model is tied and hoisted off the ground. I felt like the scene, although symbolic, was kind of euphoric as a visual. So, when Ed Fay
(editor) and DJ & producer Tommy Holohan
and I met to discuss the edit, I knew the track needed to have that jolt. The red scene needed to be a bit invasive, like a personal encounter, with a euphoric outburst. Thanks to platforms like TikTok, people’s retention is now as little as one minute, we worked very hard to create a “can’t stop, won’t stop” moment to bring the viewer back into the second half. Tommy had been tirelessly creating samples and sounds with Ed re-editing, re-cutting and re-grading every two or three hours. It was very tight with time, but I suppose perhaps through the many edits and sounds created, the results were joyous and optimistic.