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The film includes me walking down Oxford Street to Poland Street to The Kings Arms where I first discovered that bears and cubs don’t just live in the forest.
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My burgeoning homoerotic imagination was on fire but what was fuelling this were images of men intended for a straight female audience. I remember video recording Pray by Take That on The Chart Show onto VHS in 1993 and playing the few second clip of Jason Orange in his underwear over and over again. There were no Sam Smiths or other openly queer singers that I knew of at the time who were singing directly to a queer object (audience). I had to imagine schoolgirl teen heartthrob boy bands (Take That, Backstreet Boys etc.) were singing love songs to me as a gay man. As a gay guy, I could identify more to Madonna than a heterosexual man yet she’s taking about heterosexual men. For me it was really difficult growing up at that time in the Nineties listening to music about teenage heterosexuals. Music that you listen to does inform you (particularly so when you are a teenager). In this ‘new normal,’ what spaces are available for queer people to perform their visibility? What is the future of those spaces that I discovered on my walk that are currently closed? Will the queer people that once inhabited these spaces become invisible/unseen as their safe spaces have disappeared? My voice and my accent evidence my life so clearly – a specific voice that gives me a specific identity to a specific place.Īs I walk down the streets that were so important in shaping my life as a young gay man living in London, I revisit the gay bars and pubs that have been my safe spaces for the last twenty years and more, spaces that are now closed. A friend once commented that I have a particular voice from a particular point in London queer history. I reflect upon the difference between me in 1994 and me in 2020 and how my relationship to this area of London has changed, may no longer have the same appeal as it did in 1994 or a different kind of appeal in 2020. As I walk, I listen on headphones to the compilation music tapes that I made when I first came to this area as a teenager in the 1990s. This film includes sections of a walk that I made through Soho, London. SEE ME: A WALK THROUGH LONDON'S GAY (UN)SEEN (2020) was made during the COVID-19 pandemic lockdown in London in July 2020. 1994 frames the film in time as the age before widescreen TV. The c90 cassette on screen is the cassette compilation that I still have from 1994.
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It is made using digital transfer versions of c90 tape compilations I made between 1992-1995, juxtaposed with moving image footage of me in 20 and a typeface font graphic ‘See Me’ that I designed in 2005. This film is made up of a number of layers both sound and visual layered on top of one another, talking to and informing each other. Its title is a play on words: seen/scene, unseen/unscene. This film weaves across sound, image, time, rhythm and place. I dread to think how long it took for you to splice in the music from your comps!’ ‘‘a very original way to document lockdown … a very personal film. Just by walking on the street you can make a film’
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‘The layering, the eyes, the holes of the cassette tape, just like a painting. SEE ME: A WALK THROUGH LONDON'S GAY (UN)SEEN (2020)