Hannah Perry makes jarring, fast edited films whose energy and pace describe the struggle to contain adolescent feelings, and the difficulties in managing relationships, both offline and online. Perry captures digitally overheard arguments, intimacies or discussion to form a stream of voices from the fragments of footage and collected images, scored by bass heavy samples. Perry also applies this method to produce performance works, most recently for Serpentine Galleries and Boiler Room, working with choreographers, musicians and dancers, to create overlapping physical interactions, backed by video and sound rooted in house music. Hannah Perry (b. 1984) lives and works in London. She graduated from Goldsmiths College in 2009 and from the Royal Academy Schools in 2014. “My work is often about accidental rhythms, or finding beauty in daft moments,” says Hannah Perry, who primarily produces short films, as well as creating installations, prints, and live performances. Her films are formed of a pastiche of sounds and footage, which she shoots herself and clips from other sources, among them, in her words, “old, strange documentaries in video libraries, or biopics about comedians.” She then weaves these various moving images together into an intentionally disjointed whole, in which she elides distinctions between her own footage and that of others. The resultant pieces are characterized by a pace and rhythm that is fitting for the Internet Age. Through them, Perry presents a rich array of historical and current cultural references, and comments on the power of the mass media to shape our desires and identities.