Video Works
AND IF IT ALL FALLS APART, WHAT THEN? (2025)
Double Vision, Kiaora Place by Woollahra Council (2025)
AND IF IT ALL FALLS APART, WHAT THEN? explores environmental loss through the instability of digital archives. The work presents landscapes that no longer exist as physical places, surviving instead as fragmented and deteriorating data. Familiar environments are reconstructed into shifting sequences that hover between clarity and distortion, positioning the archive as both a tool of preservation and a site of erosion.
The work considers how memory reshapes place once direct experience is no longer possible. As images degrade, repeat, and reform, the work highlights the limitations of both physical and digital preservation, revealing how attempts to retain the natural world often accelerate its abstraction. In this context, the archive functions as a memorial rather than a record, holding traces of a world that can no longer be fully accessed.
Vestige Works (2025)
3D visualisation of VESTIGE: Firth Of Clyde
3D visualisation of VESTIGE: Ku-ring-gai Gum
Exerpt of ‘VESTIGE: Banksia’
Vestige is a series of three long-form videos that grows out of AND IF IT ALL FALLS APART, WHAT THEN?, following the slow erosion of landscape through duration, repetition and the act of looking. Filmed across Scotland, Australia's east coast and the Sydney hinterland, the works treat technology as a kind of haunted archive where images promise preservation but produce loss instead. Repetition does not stabilise memory but gradually wears it away. What remains is fragile and uncertain, shaped as much by time and perception as by what was ever really there.
human distortion @ The Loop, Hobart (2023)
‘HUMAN DISTORTION V2’ (2021)
doors at 8 (2023)
doors at 8 is a photo zine documenting the final years of a band photography practice spanning 2017 to 2020. The work continues from where In Motion concluded, capturing live performance and backstage moments through film photography.
The zine incorporates higher-resolution scans, analogue glitch processes, and improved production quality. An augmented reality layer accessible through Instagram extends the work beyond the printed page, allowing certain photographs to be reactivated in digital space.
This hybrid format reflects an ongoing interest in how photographic material moves between print and digital platforms. Where In Motion used QR codes to bridge still and animated images, doors at 8 integrates social media infrastructure directly into the viewing experience, positioning the physical zine as both document and entry point.
A5 photo book, 90 pages, 240gsm cover,
90gsm inside with perfect oversewn binding
Augmented Reality via Instagram AR (discontinued)
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SELEKTOR (2012 - 2021)
Machinima Video Practice And Ongoing Research Project
SELEKTOR was the online pseudonym Phillip Muzzall used to publish machinima works created from video game environments. Working primarily with first-person shooter games, he produced edited video works using recorded gameplay, modified in-game elements, and rhythmic montage to construct cinematic sequences within virtual worlds.
The practice treated game engines as found environments and tools for image-making. By synchronising gameplay footage with music, the works explored movement, pacing, and atmosphere, using the constraints of the game engine to generate new visual narratives. This period established Muzzall’s ongoing interest in digital mediation, image compression, and the emotional potential of synthetic environments.
Building on this foundation, Muzzall is currently developing a research-led monograph examining the cultural impact of Call Of Duty and the machinima community. The project combines video works, interviews, and critical writing to reflect on machinima as an early form of networked video art shaped by online platforms, labour, and technological limitation.
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Public Art / Collaborations
Lighting of the Sails: Kiss of Light by David McDiarmid (2025)
As part of the creative team at VANDAL, Muzzall contributed to the conceptual development, motion design, and post-production of a large-scale projection mapping work for the Sydney Opera House. The project centred on translating David McDiarmid’s archive of queer visual culture into a public, time-based experience. His role focused on visual ideation, narrative pacing, and the careful adaptation of archival material for an iconic architectural surface, balancing artistic integrity with public accessibility.
Face of the Earth: City of Sydney’s New Years Eve Pylon Projections (2025 - 2026)
As part of the creative team at VANDAL, Muzzall served as Creative Lead and Video Editor for the Sydney Harbour Bridge Pylon projections, delivering a site-responsive moving image work viewed by large public audiences. Responding to the theme The Face Of The Earth, the project visualised a speculative rewilding of Sydney Harbour through endemic plant forms. Working with generative image systems and custom workflows, the project translated environmental research into a dynamic public artwork designed for architectural scale and urban context.
OUR FRAGMENTS (2025)
OUR FRAGMENTS reimagines the transition of a trans masculine subject as a continental shift. Using the metaphor of Pangaea, the body is treated as a landmass that fractures and reforms into a new configuration. The work draws on Gaussian splatting to fragment three dimensional scans into shifting points of light and data, transforming the body into a terrain in motion.
Focusing on an anonymous friend navigating disability, the work frames rupture not as destruction but as a generative process of becoming. Identity is presented as something formed through instability rather than continuity. By protecting the subject’s anonymity while foregrounding their experience, OUR FRAGMENTS
becomes an abstract map of resilience, transformation, and self-formation shaped by fragmentation rather than coherence.