Bio
I’m a filmmaker working across narrative film, documentary and commercial projects, guided by sustained research into intergenerational memory, belief and archives.
Writing is central to my process.
I studied a BSc and later an MSc in Social Anthropology at the London School of Economics. Anthropology’s emphasis on participation and embodied knowledge continues to inform how I work with people and places.
This approach extends into my ongoing engagement with urbanism through Freehold Magazine, where I focus on placemaking and everyday interventions into urban spaces.
Alongside my film practice, I work commercially with start-ups, fashion brands and cultural institutions. My commercial experience includes project management, branding, graphic design and creative direction.
Email: brandonstcatherine@gmail.com
Instagram: @beesaintcee
CV
LE PHAM DOC 45456
INFO
Producer: Nga LeBhum, Minn LeBhum
Art Direction: Brandon St. Catherine
Photography: Brandon St. Catherine
Photograpy Assistant: Penelope Corinaldesi
Digital Photography
ColourDESCRIPTION
This product photography shoot for Le Pham engages the still life tradition as a way of thinking through heritage, craft and belonging. Drawing on a form long central to art history, the images assemble carefully chosen objects and fruits sourced from Vietnam, situating the brand’s handmade leather goods within a broader material and cultural landscape.
While Le Pham is based in London, the inclusion of Vietnamese objects serves as a quiet homage to the founders’ heritage and roots. These elements create a dialogue between home and away, foregrounding how objects can act as mediators of identity: carrying memory, evoking place, and offering a tactile connection to histories that extend beyond the present moment.
The still life compositions allow the leather pieces to sit in relation to these materials rather than apart from them, emphasising touch, texture and care. In doing so, the images reflect Le Pham’s approach to craft, which draws on Italian and British leatherworking traditions while remaining deeply informed by Vietnamese artisanal aesthetics and sensibilities.
Through this assemblage of objects, the shoot considers how everyday materials can hold emotional and cultural weight, and how, in their arrangement, they can gesture toward a sense of return: not as nostalgia, but as an ongoing negotiation between past and present, origin and practice.