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Not being able to relate to such footage like fishing in the 1940’s or professional water sports, I have been trying to engage with previous relations to water environments. Making a collage with film is like breaking down research and translating it into a particular understanding. I had viewed a lot of footage before I could find any purpose. What's the future of found-footage art in your opinion? What will be the influence of platforms like vimeo and youtube? People have been utilising existing images since the early 1900’s, and I think people will continue to use found footage. Whether or not it’s through digital or analogue mediums, platforms like vimeo and youtube can provide a plethora of visual material that will be accessible in different ways. Perhaps these mediums will help to create new ways of working with found media. From the first time we watched€Wind Up Bird, your filmmaking and editing style reminded us of Bruce Conner's films. Can you tell us your biggest influences in art and how they have affected your work? My influences are quite broad and stem from many things like meeting people, the biologist Jakob Von Uexküll, Composer Nico Muhly, my family; my grandma probably plays a big part. I have been intrigued by Directors such as Michael Haneke and Věra Chytilová, and some artists I like are Carolyn Jansson, Halim Al Karim, Esther Teichmann, Jessica Eaton, Pipilotti Rist and Aki Inomata. We have found really stimulating the€soundscape€of your work realized by€Alexandra.€€Alexandra, could you take us through your creative process when starting a new project? A: My artistic process is very intuitive; often I am inspired by a single sound source and will begin by processing this sound in various ways, experimenting to see where one sound can lead. I am€interested in€the relationship between humans and their sonic environments, in the notion of geographical identity, the ways in which€sounds can shape identity and place, and the various meanings & feelings that sound can communicate. I find sound fascinating and am constantly listening out for everyday ‘noises’ that might pique my interest. I make field recordings and use these, in combination with compositional

A still from Wind Up Bird

ideas, as my main sound material. Perhaps this is also why Katrina and I work so well together, as we both like working with ‘found’ materials. € Thanks for sharing your time and thoughts, Katrina and Alexandra. What's next for you? Have you a particular collaboration in mind ? A: Right now we’re working on another audio/video piece, I can say that the sound is inspired by the soundscapes of our cities, and is composed€solely of sounds from the electro-

Profile for Stigmart Artpress

Stigmart Videofocus Special Issue NRT  

Stigmart Videofocus Special Issue NRT