Shelly’s directing career started with the realisation that a camera could act as a vehicle to her imagination. This provided her with natural progression from choreography, dancing and performing. Such is this interwoven discipline and practise that Shelly prefers to liken herself as an artist or a creative person, rather than a dancer, choreographer or director. All for the better, as it is this complexity that gives rise to such lush and visually stunning films.

Perhaps we can look to Shelly’s Scottish high school to see the origins of her visual style and mood; where a uniform of extreme punk, goth, hippy, psychobilly and metalhead seemed de rigueur. Certainly Shelly’s early imagination seemed to be fuelled by late night TV; “My dad used to let me stay up late,... I watched ‘The Shining’ when I was only 7”.

The fantasy and psychological world is a place that Shelly continues to work with. That other place where speed and direction become altered, lenses shift, colour melds. “It’s instantly an altered state - it’s not in the real world and there’s something about that language which expresses something psychological or fantasy based”.

Having returned from an Australian retrospective entitled ‘The Imaginings of Shelly Love’, Shelly’s current focus is firmly on developing her fictional work with several scripts in development. She does this whilst maintaining a strong output of music promos including the award winning ‘Dark on Fire’ for Turin Brakes.

Films such as ‘The Forgotten Circus’ screen globally; Australia, Singapore and Sweden being recent locations. Channel 4 commissioned and aired her short ‘Clingfilm’ and four pieces entitled ‘4 Slots’.

Shelly’s recent move into commercials has already seen her complete an iPlayer television campaign for the BBC.