During my time at Glasgow School of Art, I used animation as a form of experimentation and research into bodily movement and world-building. Building on my dissertation about functional failure and authenticity, I created an alternative sci-fi universe titled 'Exercising Existence', experimenting with the experience of home and what is familiar through fabricated props like canal boats, skateboards, and space suits. Under a project called 'Excreting Motion', I made hand exercising machines to investigate the mechanics of bodily movement—how bodies extend, fold, sit, and gesture. Throughout my studies, I used animation techniques including stop-motion, time-lapse, rotoscoping, and digital compositing to document and analyze these interactions. The GIFs and visual collages I created functioned as experimental tools—ways to understand movement frame-by-frame and test filmmaking techniques. My worlds developed their own internal logic through accumulated failures: when objects didn't work as intended, those breakdowns generated new aesthetic and narrative possibilities. Animation became both the method and the evidence of this research, capturing moments where the body met its handmade environment and revealing what happened when function gave way to something more authentically chaotic.