The character of Hazel was developed to be an initially less confident character, who evolves through the script, as her story is told. I wanted to use her character as a vehicle to discuss the theme of oppression from an initial position of insecurity, that grows into a position of strength across her journey. She is fun, unsure of herself and perhaps a little naive, though endearingly so. She looks to her female counterparts for both support and also education; bolstering herself with their encouragement. Excitable, friendly and outgoing, she fosters a deep internal critique and a large amount of nervous energy, She slowly transitions into character through which she can access her inner strength, supported by those around her. Initially, she often finds herself feeling deeply insecure in presenting her work to others, especially a male audience. This film also examines the classic trope of the ‘Royal Academy style’ selection process, and many other creative selection processes, in which artworks are human-marched, conveyer-belt style in front of a board (of predominantly white, aloof academic men), who view the work for a matter of seconds before gesturing whether it should be marked with a cross (no, send it back), or a tick (shortlisted.)
Hazel is the character that I most deeply align myself personally. She is both the character that I am proud to be, and also the one that I fear to be.
To view work see video below, scroll down for stills.
A Treatment of Women: Hazel, 2019