Michelle Williams Gamaker (b.1979) lives and works in London, working with moving image, performance and installation. Through a wider interrogation of the artificial nature of cinematic construction, she recasts characters proposing critical alternatives to the colonial and imperialist approaches to storytelling in early 20th Century British and Hollywood studio films. Scriptwriting, workshopping with actors, acquiring film paraphernalia and producing props for the intricate staging of her film sets are all vital elements in the re-enactment of the set-constructed landscapes that shaped Williams Gamaker’s love of cinema.
She recently completed a trilogy of films entitled ‘Dissolution’ (2019), comprising ‘House of Women’ (2017), ‘The Fruit is There to be Eaten’ (2018) and ‘The Eternal Return’ (2019), in which characters from Powell and Pressburger’s 1947 Black Narcissus unravel as they become aware of their screened and staged realities. Her film House of Women (2017) screened at BFI’s LFF Experimenta Programme (2018) and has been part of three Arts Council of England collection shows: ‘Women, Power, Protest’ at BMAG, Birmingham, ‘As Seen on Screen’, Walker Art Museum, Liverpool, ‘Go On Being So’ at Newlyn Art Gallery, Penzance (2019-2020) She is currently completing the ‘Untold Stories’ commission at Royal Albert Memorial Museum, Exeter, which will result in a new film ‘The Silver Wave’ (2020) and four-month exhibition.
Williams Gamaker is a graduate of Middlesex University (2001), de ateliers, Amsterdam (2005) and Goldsmiths (2012). She is represented by Tintype, London that featured her solo show ‘Distant Relative’ (2019). Her work is exhibited widely, with upcoming shows at Newlyn Art Gallery, Penzance and Blenheim Walk Gallery, Leeds. She was a recipient of FLAMIN’s ‘New Approaches’ feature film development scheme. As a result she is co-writing her first feature ‘The Imperial’ with Elan Gamaker, with the support of co-producers Somebody Nobody and Sevana Films.