Metonomie(s)
Video, Fantasia / Visionario, Filmato, 9:54
My video works are quintessentially cinematic. At first sight they appear narrative, dependent on an occurrence, place, and time, but not only do they take place at abstract, principally unidentified sites—such as a forest, a beach, or a desert—they also wholly dissolve the distinction between the documentary, the staged, and the imaginary.
One work features a girl roaming alone in a forest. It is unclear towards what she is heading or from what she is distancing herself, escaping. She walks, stops, looks at the camera, and disappears. Another work portrays a young man and a young woman walking in the forest, in the dark. From the very outset something is not entirely right, but it is hard to tell exactly what. At some point they come across another young man, perhaps familiar, perhaps foreign. The sun rises, illuminating the previous night's remains.
The works present short, fragmentary, compressed scenes. While the process of observation is underlain by cinematic consciousness, they are constructed differently and operate on entirely different planes. The depicted situations unfold, each in its own way, a personal, intimate story of a journey which is fundamentally an internal quest. A mental voyage of search, of wonder, perhaps of flight. A quest which embeds a subversive potential, loss, pain, and anxiety, but also a sense of awakening and refined beauty.
My films blends fragments of memories, places, and times which hold a potential for violation of order and liberation, unstitching the narrative structure by blurring the boundaries between the real and the imaginary.
I try to create ex-territories which involve solitude, foreignness, but at the same time contain tenderness and intimacy, the fragility of a dream. The resulting works are imbued with different types of borderline states which echo one another formally and thematically at the same time.
One work features a girl roaming alone in a forest. It is unclear towards what she is heading or from what she is distancing herself, escaping. She walks, stops, looks at the camera, and disappears. Another work portrays a young man and a young woman walking in the forest, in the dark. From the very outset something is not entirely right, but it is hard to tell exactly what. At some point they come across another young man, perhaps familiar, perhaps foreign. The sun rises, illuminating the previous night's remains.
The works present short, fragmentary, compressed scenes. While the process of observation is underlain by cinematic consciousness, they are constructed differently and operate on entirely different planes. The depicted situations unfold, each in its own way, a personal, intimate story of a journey which is fundamentally an internal quest. A mental voyage of search, of wonder, perhaps of flight. A quest which embeds a subversive potential, loss, pain, and anxiety, but also a sense of awakening and refined beauty.
My films blends fragments of memories, places, and times which hold a potential for violation of order and liberation, unstitching the narrative structure by blurring the boundaries between the real and the imaginary.
I try to create ex-territories which involve solitude, foreignness, but at the same time contain tenderness and intimacy, the fragility of a dream. The resulting works are imbued with different types of borderline states which echo one another formally and thematically at the same time.
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