on the face of it the piece depicts a beautiful and overpowering yet not necessarily elegant landscape at a time of bitter tranquility, no human interaction or event taking place just the elements in their natural unaltered state.
My practice has come to the this path after past experiences led me down this avenue, the use of environmental art methods in particularly working within the outdoor landscape struck a chord with me which then progressed into my decision to create a piece centered around shooting the natural landscape 'in all it's glory'. My own creative leanings particularly a fascination with film and music led me to documenting the piece in the manner and style in which I have.

I see my self presently as a landscape artist, but I am aware that I am prone to shifting my practice along with my current interests and chop and change my areas of interest as much as I do my mediums, hence why I felt the interdisciplinary course was the right choice for me and I am pleased with the freedom I have gained from it, where I go from here, who knows, but I know that as long as I maintain momentum and keep uncovering new interests my enthusiasm can take me far.

Final Cut.

With G47 set up and ready for my film I now had time to get to grips with the film and re-edit it with fresh eyes at the soundbooth and make the changes that I felt necessary. This can be viewed above.
One of the main edits that differs from the previous 'rough edit' is the inclusion of a slow moving cloud sequence, which starts to come in at around the 3.50 minute  mark, taking over what was a lengthier stay from the footage that precedes it, which quite frankly I found headache inducing, it's only saving grace was the colour range and aesthetic appeal which led to it being kept in the film albeit at a decreased length. I think the new footage works really well, so much so that it has become one of my favourite moments and slightly baffles me that I overlooked it in the original edit. This has emphasized to me just how important it is to have a series of edits and not just create one final edit. Making a rough edit and then responding to feedback and taking notes has, i feel, led me to create a much stronger piece. I have also taken on board postive responses to my colour pallette which has also been applied to the recently added scene which has had it's magnitude increased to a point where the reds are just apparent but not enough to make it sepia. 
Another key change was my decision to group all of the snow shots together in one constant sequence as to avoid confusion and to make the film flow better.
The soundtrack has also been altered slightly with a percussive element that was previously barely audible made more apparent, all with the intention of making the sounds mesh better with the screen imagery. The abstract sentiments of the two elements, audio and visual collide and contrast each other to play out the physical rhythms of the landscape ultimately become psychological.   
Despite a deliberate and conspicuous absence of the body, the video emits a distinct human presence, which is something that I have found is unavoidable, as put simply we couldn't have video footage without human interaction, so obviously it would always have a human trace, mine maybe more than others.