Richard Hunter’s filmmaking proposes a new consideration based on the physical way we interact with our memories, history and moving forward, our obsessions.

His process begins with the often-simultaneous gathering of audio and image sources through travel (local and international). Sound sources include culturally framed items such as vinyl records, background ambiance or noise making devices (such as music boxes or radio frequencies). The texture contained within these sources provides a positive constraint to the work. Beyond musical content, these non-digital recordings carry personal stories, histories or journeys that can be heard or imagined through imperfections gathered over time or broadcast. Images (moving and still) are both obtained digitally and through analogue means, utilising various technologies. These are personalised with additional (often vintage) lenses or mountings to achieve stylised output rather than a reliance on postproduction.

The combination of material is considered as contemporary collage that questions the fragments, ephemera and details of remaining visual and audible transient memories.