Her practice attempts to dig into the recent past and dissect the detritus of what we leave behind. These lost objects are not always tangible. They are sometimes specific experiences or places lost or on the precipice of existence often due to the human effect on the environment. For example, The Morrow (2017) is set on the Holderness coast, Yorkshire, the fastest eroding coast in Europe. Roads literally falling into the sea like a scene from an apocalyptic movie. A wartime pillbox part buried on the beach is intercut with underwater footage and the poetic names of settlements lost to the sea. “Nothing is as secure as we like to think it is.” says the Yorkshire lilted voiceover.

Katie Goodwin often uses conversation and collaboration as part of the creative process. There is often an embracing of absurdity and things not going to plan. In Lightness (2015), her first self-shot 16mm film, she sought out the darkest place in Britain in an attempt to see the Milky Way but when she got to a remote Highland village—it was too cloudy for a week to view the night’s sky. So meanwhile befriended and filmed the ferry workers who operated a historic tourist ferry ran by the local community.

Katie Goodwin is a graduate of Goldsmiths and Wimbledon Colleges of Art. Her work has screened at ICA, Site Gallery, Tyneside Cinema, Fabrica Gallery, IMT, Showroom Cinema, Camberwell Space, Travelling Gallery amongst others. And many film festivals in Britain and globally including several London Short film festivals, Alchemy, Swedenborg, Flatpack, Animated Exeter, WRO 15th Media Art Biennale, Poland and Les Sommets Du Cinema D’Animation, Canada. Prominent touring exhibitions include Bloomberg New Contemporaries in 2011 and 971 Horses & 4 Zebras in 2012-13 which screened at Tate Modern, Wimbledon Space, MADA Gallery, Melbourne and Contemporary Art Space, Tasmania. She has had solo shows and screenings at Temporary Arts Project, Southend; Akkigalleria, Jyväskylä; Stephen Lawrence Gallery, University of Greenwich and ArtLacuna, London.