Award-Winning Stop-Motion Trailer: ‘Hope is Lost’

I began this project with no formal training in animation, driven by a need to see if I could build a world from nothing. Prior to this, my only experience was a three-minute experiment during the lockdown; this project was a massive leap into the unknown.

I functioned as a one-person studio: writing, directing, animating, and building every set and puppet from found materials. I also handled the cinematography, editing, and producing—balancing the intense technical demands with the creative vision.

The result proved that imagination and resourcefulness can rival high-budget productions. The film had its World Premiere at the 69th BFI London Film Festival 2025 and won the Audience Award at Premiers Plans 2026.

This achievement is proof that my transition from facilitating others' visions as a 1st AD to realising my own as a lead artist is not just possible—it’s already happening.

Process & Engagement:

Documentation of my sustainable 'found-material' builds. This includes viral social media content (40,000+ views) that demonstrates my ability to engage a wide public audience with niche artistic processes.

My current practice is a deliberate collision of digital footage and tactile, hand-drawn animation. I work with a mixed-media process that involves printing digital sequences—stills or moving images—directly onto recycled paper, then painstakingly animating over them by hand.

I’ve always prioritised a low-waste methodology. Currently, this means using the "clean" reverse side of discarded documents and used paper. However, my R&D is pushing this further. I am moving away from the "blank" page to embrace materials with their own history: the yellowed pages of old books, textured newsprint, and the vibrant, chaotic layouts of free magazines.

The goal is to see how these "found" backgrounds can elevate my visual style through collage and physical layering. By using paper that has already lived a life, I’m not just reducing material waste; I’m adding a layer of depth and grit to the image that digital filters can never replicate. This is a study in how "scavenged" materials can create a richer, more intentional aesthetic while keeping my practice grounded in sustainability.