It’s the Skin You’re Living In

A multi-platform film project about climate, migration and home

It’s the Skin You’re Living In explores and challenges images of climate change.  It exists in three formats: a broadcast and online film; a miniature multi-screen installation; and a multi-user iPhone app.  Shot in a series of locations from the islands of Svalbard in the High Arctic to a kitchen in a house in London – via the beaches and headlands of Barra and Vatersay in the Outer Hebrides, the M11 motorway, a dairy farm in Bedfordshire and the outskirts of Hackney and the Olympic Park – the project suggests that climate change isn’t a matter just concerning distant landscapes and threatened animals, but is an ever present part of everyone’s daily lives.

There is a man dressed like a bear; a polar bear.  Sometimes he looks like a person dressed like a bear – human, fake – and sometimes he looks like he might actually be a bear – animal, real.  Over the course of a fragmented journey from the northern reaches of Europe, through Scotland, to the south of the UK, the bear-skin-costume is dismantled, revealing the man inside the animal.

It’s the Skin You’re Living in is an attempt to make images of climate change that remind us of how profoundly we’re connected to both nature and culture, how we’re all undergoing change, on a journey, searching for home.  It’s language is one of broken images, repeated actions and walking, walking, walking; a strange, sad and funny meditation on being human and being animal, lost in a changing world.

It’s the Skin You’re Living In was developed during a residency at the University of Brighton, in collaboration with Dr. Julie Doyle.  It was part of Cape Farewell’s Sea Change programme.

Contact Fevered Sleep for more information, or search #fsSkin on Twitter to keep track.


Ali Beale
Production Manager

Robin Dingermans
Bear Man

David Harradine
Director, editor, sound

Tim Kindberg/
VideoSync app

Jess Tiller

Music: Francis Poulenc, Mouvement Perpétuel No 1, performed by Danny Manners

Developed through a residency in the School of Art, Design and Media at the University of Brighton, in collaboration with Dr Julie Doyle

Supported by

With additional support from:

Cape Farewell, Esmée Fairbairn Foundation, The Leverhulme Trust