Inter
I filmed myself sitting in front of a 1000 Watt lamp, for approx. 40 sec. The material was edited going back and forth in time, extended to a duration of 4,49 minutes, and then looped. Minuscule finger movements and the occasional gentle heaving of the chest interweave with moments of death like stillness. I am interested in the tensions evoked conceptually and visually - between interrogator and the person who is interrogated, inner life and surface, truth and falsehood, real time and constructed time, still image and moving image - neither one nor the other, but always in-between and both.
Die Verwandlung (Metamorphosis)
The starting point for this piece is a moment in Kafka's Die Verwandlung (Metamorphosis). I extracted several gestures from the text, leaving behind the setting, the thoughts and emotions described, and focussed instead on physicality and movement. Thus something new emerged, visually and conceptually evoking multiple levels of translation and transformation. The slow motion of the images exacerbates the tension produced through repetition and ambiguity, with images which seem to refer to states between sleeping and waking, between delicious pleasures and tormenting pain, endlessly and without resolution.
Perpetual Present
Stillness. Nothing happens. Three pairs of eyes return the viewer's gaze with their extended, unrelenting stares. Occasionally tiny idiosyncrasies point towards the moving image - a slight movement of a head, a tear forming in an eye, a swallowing motion. The viewer finds her/himself held by the gazes out of the video-monitors and starts staring at the images, afraid to blink, afraid to miss a blink where there is none.
Video-installation with three 14" monitors; 3x1 hour loops, silent. (1997)
Degrees of Distance
Two figures on separate projections are seen traversing space - away from us, towards us. Gazes meet and cross, relationships develop and dissolve. Filmed with a tele-lens the figures' movements become ambivalent. While the landscape is in focus their visibility changes. The closer they are to the camera, the less clear their image. They emerge in receding from sight.
Eye-rhyme
Let's not talk about seeing, let's talk about the eye. The eye framed as organ, as flesh. A blurred dark eye, half closed, trembling, in constant motion. Lashes on lens like feelers, enamoured with and scrutinised by the camera it faces, leaving streaks, marking it. An insect with only its feelers in focus. As if somebody had trapped it under glass in order to watch its restless movements.