Amy Coyne operates within a space where the tactile and the psychological converge. Working across felt-based character creation and film, her practice draws on the unsettling language of horror to explore something far more complex than fear alone. Beneath the surface of her work lies an ongoing investigation into the narratives we construct around morality, consequence and the unknown.
Having recently begun to refine her artistic direction, Coyne’s work has quickly developed a distinct voice. Rooted in a long-standing fascination with horror cinema, she approaches the genre not as spectacle, but as a lens through which to examine societal taboos and the inner workings of the human psyche. Her films are not designed to comfort or resolve. Instead, they linger, asking the viewer to sit with ambiguity, discomfort and the quiet persistence of unease.
This is particularly evident in her two short films, Sherry and St. Augustine. Together, they form an evolving narrative centred around Alvis, a haunting, ambiguous figure whose presence shifts between observer and participant. Through these works, Coyne constructs a world where time folds in on itself and characters are bound not only by circumstance, but by the psychological weight of their choices.
Coyne’s process is as layered as her storytelling. Moving fluidly between set construction, prop making, lighting, camera work and sound, she maintains a hands-on approach that allows her to shape every element of her films. This multidisciplinary method lends her work a distinct materiality, where the handmade and the cinematic coexist in quiet tension.
What emerges is a body of work that resists easy definition. Coyne is not simply creating horror; she is dissecting it. Whether through visceral imagery or slow-building psychological strain, her aim is not just to provoke fear, but to understand it – to locate that point at which discomfort becomes something far more enduring, something that follows the viewer long after the screen fades to black.
Are you self-taught, or did you undertake formal artistic training?
While I am currently doing a Masters of Fine Art, I learnt how to felt by myself. In regards to film work I have received excellent advice from professionals but learning felt work was simply through trial and error.
How would you define your visual language or conceptual approach?
I think my visual language is a mixture of hard and soft. Combining the sweetness and childhood elements of felt with the dark, psychological storylines of my work. Often with a gothic aesthetic. There is a real contrast.
Can you describe your creative process from conception to completion?
For my latest project I began with the concept of the story first and wrote out the entire script. Then I created my characters, then set, then filming and finally editing. In the past I created the characters first and created the film based on them however I wanted to try a different approach this time.
Does narrative, symbolism, or storytelling play a role within your work?
Certainly. My work revolves around the story. While offcourse people can look at the felt characters without any knowledge of the story and come up with their own ideas, for me the story is what is the main factor. It is what drives my project start to end. As for symbolism, I do like to look at different symbols and implement them in the background of my work.
Which artists have most influenced you historically or contemporarily and why?
There have been many artists however one which stands out in particular is Jan Švankmajer. The 1988 film Alice in particular. His work is memorable and the way he uses ordinary objects and twists them to show the creativity of Alice’s mind made for a fun watch. Plus he has childhood nostalgia themes mixed with a creepier tone.
What personal, cultural, or environmental influences shape your practice?
I often look at the issues within the horror genre. My 2 past films looked at the sexualisation and representation of women in horror and the way religion is depicted in horror. For my current film I am working on I am looking at the exploitation and sensationalism of true crime.
Where is your studio based, and how does the space inform your creativity?
While I do have a studio in my university I prefer working at home. I find myself working best in my room, I always have. I am more relaxed and therefore more comfortable to make whatever I want.
Do you have any rituals or rhythms that anchor your studio practice?
Not really, I just try and always be creative and try doing something everyday. Even if it’s just a little thing. So I’m always progressing and the project is always in my thoughts.
What bodies of work or projects are you currently developing?
Right now I am making a film called Crow Bait. I am at the stage of filming and editing which is incredibly exciting. I love building all the sets and playing with lighting. Seeing it come all together is incredibly satisfying.
Where can collectors encounter or acquire your work?
@myi.maginaryfriends on Instagram is the best way to see what I’m up to.
