Katharine Round

Artist & Filmmaker


My work is driven by a deep curiosity towards "ordinary" human beings: our contradictions, humanity and fallibility as we attempt to make sense of the world.

I often explore specific situations that illuminate wider thematic ideas, with formalist intervention to “provoke reality” and uncover new ways of seeing our lives. I don’t hide my presence and aim to question myself as much as I do others, and as such, I acknowledge a vision of the world through "imperfect" eyes: a cinema of lies as much as of truth. 

My films and moving image works have been shown in cinemas, television, art galleries, online, and on the street. I’ve had support from the Arts Council, BFI, Creative Europe, Forma Arts, CPH:LAB, Dartmouth Films, Passion Pictures, the Guardian, Serpentine Galleries and many others.

This site acts as a notepad for past and ongoing work, nothing is permanent as I aim to share my evolving thought processes as well as the results.

My work is produced via Disobedient Films.

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Disobedient Films
10-28 Millers Avenue
London E8 2DS
Email Me: katharineround [@] gmail dot com



Image: Ghosts in the Machine/ Anthropocene in C Major

Climate Symphony

A multidisciplinary collaboration between myself, journalist Leah Borromeo, and composer Jamie Perera, the early idea behind Climate Symphony was to find a way to “tell stories” through sound. As we worked together, new ideas, themes and approaches emerged and the project developed into a space to explore a range of individual and co-created artistic responses (sound, visual and both) to the idea of  “symphonies” from data.
At the start, I was personally less interested in a representational approach than the idea of what happens when we transform something usually experienced in one form into something completely different. Transforming “data” into sound alters our relationship to it and provokes a more visceral and emotional response. 

The concept of a symphony also has a dual meaning in film, as some of the earliest moving image works – the “city symphonies” - associate images and ideas, create new ideas from disparate elements and in essence weave a story from our world. The amassed fragments of recorded life we have gathered since the birth of the moving image is itself data. That said, a film response to the idea was not immediately forthcoming to me. I struggled with the notion of bringing a visual work into the project, as it could too easily become a fairly crass attempt to “illustrate” or “explain” the sound work. The early co-created works therefore primarily explored the situational element, placing the sound (and the audience) inside a fishtank, a gallery space, or with live performers.

We were supported in our early work together by Serpentine Galleries, Sheffield Doc/Fest, the Global Health Film Festival, Forma Arts, and Arts Council England. In 2018-9 we were selected for CPH:LAB, part of CPH:DOX, designed to “support visionaries that push the existing boundaries of documentary filmmaking” by working alongside other artists in a physical residency to develop the practice and interrogate practical and theoretical principles.

These collaborative and co-directed hybrid works include:

Serpentine Transformation Marathon (2015) – discussion with Leah Borromeo, Katharine Round and Jamie Perera on the early concept

If The Oceans Could Speak (2016) – Toronto EDIT Festival. Sound by Jamie Perera, installation concept by Leah Borromeo and Katharine Round. Produced by Disobedient Films for We Are The Oceans.

Flatline (2017) – Barbican Galleries, curated by Gerri McHugh as part of Global Health Film Festival. Film Directed by Leah Borromeo and Katharine Round for Disobedient Films. Sound by Jamie Perera. Edited by Leah Borromeo with additional editing by Alex Baró Cayetano

Labs (2017) – A series of day-long events led by Katharine Round and Leah Borromeo to investigate the concept of “sound as a conduit for narrative” with a range of artists and scientists. The events included workshops led by composer Jamie Perera, and performances by Jez riley French, Kate Carr and Lee Patterson. Co-produced by Disobedient Films and Forma Arts with support from Arts Council England.

Oil Coal and Gas for Three Cellos  (2020) - Concept devised by Katharine Round, Jamie Perera, and Leah Borromeo. Composed by Jamie Perera. Performed by Alice Eldridge, James Douglas, Roxanne Albayati. Commissioned by Serpentine Galleries.

The two larger works I contributed to the project as individual films, Twelve Thousand Years in Fragments and a prototype version of Ghosts in the Machine, can be exhibited in parallel with the standalone sound piece Anthropocene in C Major that sonifies 12000 years of data relating to climate change over 40 minutes.

These films attempt to find meaning from the pieces of our lives recorded and left behind: the visual detritus left in the largest online archive and repository of human knowledge. They provoke a conversation with the “truth” heard in the sound, inviting us to consider the imperfect, fragmentary nature of “data”: what is hidden and inadvertently revealed in these surreal visions. 

Read more:

Twelve Thousand Years in Fragments
Ghosts in the Machine (first exhibited as part of a hybrid sound/film version of Anthropocene in C Major) 

Images: Twelve Thousand Years in Fragments

Image: Flatline, installation at Barbican Centre, London

London Symphony

London Symphony combines a film directed by Alex Barrett and a score composed by James McWilliam to create a poetic journey through the city of London. I acted as producer for the film and devised a series of Arts Council England supported performances, placing the film and a live orchestra (the Covent Garden Sinfonia) into three of the sites featured in the piece in order to provoke a dialogue between “reality” and its artistic representation. 

Read more