Ewan Macbeth

video , omgeving , Media , internationaal , installatie , fotografie , film , Experimenteel , Educatie , Documentair , Audiovisueel , Abstract

I am an artist whose work questions unaccountable power; motivated by a strong sense of anxiety about the dark times in which we live. Climate breakdown, endless war and a crisis of democracy increasingly define the world. I try to make art that confronts these crises, asks questions and creates catharsis. Working with filmmaking, I set my work within an uncanny, unspecified present. I do this in an attempt to tell timeless stories which compound public and private trauma. By that I mean that the trauma of the characters represents a societal trauma in relation to a tyrannical form of power. These works take on their subject matter, which I find deeply serious and important, often with an absurd tone. With metaphors and ellipsis my work considers the increasing inability to distinguish between what’s real and what isn’t. I try to make work that is ambiguous yet accessible, beautiful yet dark; and to confront complex themes in a concise way. I find beauty in doing this in an artificial style with an emphasis on world building. As someone with a photography background image tends to come first. Simplicity is my approach and ‘less is more’ is the guiding principle. Ultimately, my work is guided by emotion, drama, mood and story. I believe that an artists job is to make work that tells their personal truth about how they see the world, and to ask questions. So, that’s what I try to do. I try to make unique and memorable art that pushes the audience to question how and why unaccountable power has created a world caught between crises.

CIVVIE (2026)
CIVVIE (2026) - CIVVIE (2026) 16-minute Short film. Civvie embodies Aimé Césaire’s concept of the ‘imperial boomerang’: a theory that violence used by imperial forces to subjugate colonised people eventually returns home. This violence is then turned inwards, directed against the state’s own citizens. The ‘imperial boomerang’ is told through the story of Mira Shard, a 23-year-old pianist living in a militarised Europe. As a civilian, Mira wants to escape conscription and imprisonment. As an individual, Mira needs to preserve her autonomy in a world that demands conformity. Civvie takes place in a single 15-minute long take and is set entirely in Mira’s confined apartment. Diegetic sound, vibrant colour, and uncanny production design define its atmosphere. Anxious, stark, and absurd, the film carries a look of artificiality, yet balanced with characters and drama that feel real, urgent and tangible - to create a contemporary critique of violence. Civvie asks us all: what do you do when authoritarianism comes to your door? Conform or resist? Civvie is supported by CBK, Mondriaan Fonds and Gemeente Rotterdam. Complete in September 2026, a link to view it is available on request - I cannot post it publicly before the premiere
Facade (2025)
Facade (2025) - Facade (2025) 4K Digital Video, 5 minutes. Facade portrays a burn survivor who dwells on the incident that scarred him, unravelling a tale of malpractice and the devastating cost of putting profit over people. Originally written whilst I was in hospital recovering from a car accident, my goal was to make a work that explores healthcare privatisation and the ideology of inequality. A burn survivor character was created as a metaphor for these themes; through a radical shifting of physical appearance so one actor could play both a survivor and perpetrator of this ideology. I did this in an attempt to write a humanist story that encourages the audience to ask questions around culpability and guilt around increasing inequality and the detrimental effects of it. After initially abandoning this project, years later the Grenfell Tower fire happened in the U.K., a social housing tragedy. The facade of a block of flats was re-clad so that the building would be more aesthetically pleasing, in order to gentrify the neighbourhood. A fireproof option was considered too expensive to invest in, leading to a disaster when a fire occurred and rapidly engulfed the highly flammable plastic cladding. Malpractice, greed and political indifference all played a part in 72 people dying. Architects, politicians, corporations and the local council all share different degrees of culpability. My disgust at this motivated me to revisit the story of the burns survivor as I felt it was important and relevant again. However, I decided to depart from the U.K. setting and embrace ambiguity to tell a more universal story. The result subverts expectations around empathy, guilt and questions responsibility for both moral and legal crimes. Supported by Mondriaan Fonds. Premiere: International Film Festival Rotterdam 2025. Password:MASK2
Hypoxia
Hypoxia (2023) - Teaser for a film about the climate crisis. Research supported by CBK.
Prison with Songbirds (2022) - Prison with Songbirds' tells the true story of my father's wrongful imprisonment in an unnamed country. The story cuts between two different narratives of this event: The first narrative is based on an Amnesty International report written by him upon release, detailing his experience: the conditions of the prison, the inmates he shared a cell with, and the torture they were subjected to. I rewrote this text to remove specificity of time and location, in an attempt to tell a Kafkaesque tale of nightmare bureaucracy and a faceless state. This story is visualized with a unique 35mm animation process invented by artist Ugo Petronin. The second narrative is a dream-like story, regarding an unlikely bond he formed on release with two men, one of whom had coincidentally also been released from prison on that same day. This story follows a road trip where they go to a luxurious restaurant and dine together on songbirds. - eating a traditional meal by covering one's face from God with a napkin. This uniquely decadent meal, which is the height of animal cruelty, is used as a metaphor for torture and how governments play God with people's lives. 'Prison with Songbirds' uses absence as a narrative tool: the prison is never shown, the country and characters are never named. Through framing this story within an unspecified yet contemporary environment, my goal was to avoid making a touristic work and create a sense of urgency about the human condition versus forces of power that continue to dominate today. For the audience, I hope, the subject matter has a broad and international appeal, touching on timely issues of freedom-oppression, social trust-isolation, and the impact of tyrannical state power. . Supported by: CBK, Mondriaan Fund, Droom en Daad, Amarte Fund and EYE Filmmuseum
I Declare a Thumb War (2020) - I Declare a Thumb War is a reenactment of a propaganda photograph found on an official military webpage. The image, which depicts a soldier playing a friendly 'thumb war' game with a child, appears in different versions throughout the internet; all uploaded by official military sources. The work re-stages this absurd motif - imagining it as a veteran's trauma. Shot within a business that sells sand in Europe, the work attempts to satirise Hollywood orientalism and subvert the language of contemporary war cinema. This repetitive act, with its absence of violence and facts, questions the ideology of endless conflict. Supported by Mondriaan Fund and Creative Scotland
Mass Production (2016) - Mass Production is a video installation that shows four perspectives of a newspaper printing press, shot in unbroken long takes. Filmed within Euronews, the largest newspaper printing factory in the world, this set is just a small fraction of the News Corp empire, which is owned by billionaire media mogul Rupert Murdoch. This printing press, which is seen producing the Financial Times, is also used to make publications such as The Daily Telegraph and The Sun. Over the course of the 15-minute video installation we witness the making of 60,000 newspapers. In order to both appreciate and reduce its size and power, the factory is depicted in a series of abstract details.
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Rencontres Internationales BERLIN

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Locatie: Haus der Kulturen der Welt

Glued & Screwed

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ShortCutz Festival

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NPO 2 Extra

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Rencontres Internationales PARIS

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VPRO: Makers van Morgen

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Eye on Art

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Locatie: EYE Filmmuseum

Campsite

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Locatie: TENT

International Film Festival Rotterdam: PRISON WITH SONGBIRDS premiere

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Ji.hlava Film Festival: PRISON WITH SONGBIRDS premiere

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Art Rotterdam: ‘Prospects’ Exhibition

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In samenwerking met: Mondriaan Fonds
https://artrotterdam.com/

Artist Talk: Nederlands Fotomuseum

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Locatie: Nederlands Fotomuseum
In samenwerking met: Research Center for Material Culture - Nederlands Fotomuseum - MA Photography and Society

"Unforgettable Loss - Images at the Intersections of Post-Memory, Trauma and Identity"

https://undiscipliningphotography.org/
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