Women Cinemakers
very refreshing and I felt lucky to study in her class until I graduated . My work is relatively simple to understand if you know my background well. My personal experiences influence my work directly. Doing art is not a „nine to five“ office job. I always work for my art in some way and life circumstances effect my work, sometimes unconsciously. For example, I shot the first time outdoor for How to make Gimbap. I wanted a place neither Korean or German. I have chosen a spot at Monte Grappa, in the Italian pre-Alps, which I know through my boyfriend. The spot can be identified maybe as a European scenery, but it is clear that it is not located in Germany. In the last years Italian culture influenced me a lot through my boyfriend. Before knowing Federico I felt fallen between two stools, dragged by two completely different cultures. The addition to get to know the Italian culture in a very intense way made me think wider. It also helped me accepting the hybrid and contradictory human being that I am. How to cook Janchi Guksu is rich of symbols that urge the viewers to interpret them. Austrian historian Ernst Gombrich once remarked the importance of providing a space for the audience to project onto, so that they can actively participate in the creation of the illusion: how much important is for you to trigger the viewer's imagination in order to address them to elaborate personal associations? In particular, how open would you like your works to be understood? When my work once leaves my hands I do not have the control over it anymore. Just like Umberto Eco, I also believe that "..an object is endowed with structural properties that renders