Sydney, Australia
Phillip is a multidisciplinary artist whose work drifts between memory, distortion, and the digital trace. Moving through glitch aesthetics and analogue textures, his practice in video art, machinima, and digital mixed media has recently focused on the fragility of landscapes and the tension between the physical world and its archival echoes.
Drawing from a background in media and digital arts, Phillip studied at the University of Wollongong and later refined his visual language at UNSW. He is a 2024 graduate of AWARD School.
Based in Sydney, he works within VANDAL‘s creative team, contributing across conceptual development, design, and technical production. His practice moves fluidly between gallery spaces and commercial environments with a focus on atmosphere and the textures that sit just beneath the surface.
Contact
philliparthurmuzzall@gmail.com
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I acknowledge the Gadigal people of the Eora Nation,
on whose land I work on.
I also acknowledge the Wodi Wodi
people of the Dharawal Nation, the
Traditional Custodians of
the land
in the Shoalhaven. I pay my respects
to Elders past
and present, and
acknowledge that sovereignty
was never ceded.
©PHILLIPAM2026 AND IF IT ALL FALLS APART, WHAT THEN? (2025)
Single-Channel Video, 5 Minutes, Stereo Sound, 4KP
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.
doors at 8 (2023)
A photo book with Augmented Reality. Featuring concert photography, musicians and artists taken between 2018 - 2020 in London, Sydney, Wollongong and the South Coast of New South Wales, Australia.
A5 photo book, 90 pages, 240gsm cover,
90gsm inside with perfect oversewn binding
Augmented Reality via Instagram AR (discontinued)
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human distortion @ The Loop, Hobart (2023)
‘HUMAN DISTORTION V2’ (2021) - Video Art Piece
in motion (2017 - 2018)
An interactive Zine and Installation presenting quadrascopic photography and post-photographic animations taken between 2016 - 2017 in Sydney, Wollongong and Melbourne, Australia.
A5 zine, 46 page, 200gsm cover,
120gsm inside with saddle stitch binding
QR Code linked animations hosted via YouTube
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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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