A still from Entschuldigung
We have found that movement under many aspects, has a huge important in your art vision. Entschuldigung was inspired by cycling in Berlin, and more in general, your art seems to focus on the kinetic nature of things. Could you better explain what you define "the choreography of the sentiment"? Movement and the kinetic nature of things inspire me as an artist and as a person. To translate the energy found in these aspects of my work I rely heavily on sound and editing. My intention is to provoke atmosphere through sound and footage. The relationship of the created atmosphere to the original experience is not necessarily connected; this is the unusual and unique egress of my work. Editing is performed in an environment removed from where the footage is shot. Evoking a sense of place occurs through digital manipulation and
the concise application of audio. The sound, which I believe is essential, ultimately determines the atmosphere. The marriage of the visual and audio determines the choreography of my final piece. Entschuldigung suggests us an idea a fluid vision of memory, continuosly reshaping itself through visual media. Can you explore this aspect of your art? Memory and experience are manipulated by interpretation whether it’s through the brain’s reference and the passage of time or a glossy photograph. I recognize that memory can be a figment of imagination, a subjective recollection of experience, and not necessarily an actual event, place, person or thing. The power of media, visual and audio, convincingly motivates the development of ideas.