I plan for the visual language of my film to mirror the aesthetic qualities of Helen Chadwick’s work. I am particularly inspired by her ‘Meat Abstracts’ series in which she used different parts of a carcass including offal and skin, and arranged them into dynamic compositions, referencing the art historical tradition of the still life. I am interested in the symbolism behind the choice of subjects and their placements, and in my film I would like to use meat in a way that looks at once appealing, introductory and fetishistic, as well as emotionally charged and somewhat ecstatic in its composition – harking to the variety of emotions felt within the hysteria of the story. I am also interested in the way Chadwick has contrasted the fleshy gore of the meat with luxurious fabrics, such as silks and golden orbs. As my story talks of the emotional distress caused at upholding the idea of the ‘perfect’ luxurious life, I want to include fabrics such as these, as well as fur and other golden objects in order to present a vicious contrast in texture and form, disconcerting the viewer visually, whilst the sound of the film shocks them in a more overt way audibly. There is a sumptuous, inviting look about Chadwick’s photographs which entice the viewer despite their overt display of decay and mortality, and I want to entice the viewers in of my work in a very similar way. In addition, her use of lighting is perfect for these pieces, leaving a sense of slight darkness and mystery which again entices the viewer; I will experiment with lighting conditions before creating my film in order to gain a similar sensibility about my film.