Rachel Ashton





VUKOVSKO: Land of the Wolves
2018





Vukovsko, Land of the Wolves discusses the complexities of identity and the endeavour of trying to dismantle predetermined notions of grief. The film depicts Rachel's journey as she revisits an abandoned village in Bosnia which was previously owned by her family. The film deals with Rachel's perception of detachment from her personal history and her attempts to reconnect with a place that has been previously damaged in both World War Two and the Bosnian War. Vukovsko, Land of the Wolves aims to explore these memories held by the landscape and those who once lived there. In order to talk about the effects civil unrest can have on both a local and global level. The film looks to facilitate a discussion about the complexities of authorship in the 21st century.



Artist Statement

My practice shifts between film-making and writing. Within these two mediums examine the socio-political discourses surrounding personal and collective traumas. Most of my work is site specific which facilitates a personal relationship between the camera and the subject. The characters in my films neither consciously nor subconsciously navigate self-determinism. Instead, they become authors, narrating their individual experiences through multiple modes of story-telling. By doing this, I am trying to foreground subjectivity, especially in the form of personal voice-over, while exploring landscapes as distinct individual locations. Self-determination is a binding quality that spans my art practice; the forms that it takes both in relation to bodies and geography instructs my own identity.



Bio

Rachel Elizabeth Ashton is an artist based in Germany, currently studying at Staedelschule, Frankfurt. Her films and texts explore memory in conjunction with landscape and contain seemingly disparate fragments of text,  documentation, found footage and spoken narrative. By creating a dialogue between diverse materials, her work becomes less about mapping a linear history of influence or progress but rather holding these things alongside one another.





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