I am drawn to moments where nothing is happening. Imagine yourself waiting on a platform for the next train to come. Time is experienced as radically long, but looking back upon this moment it seems folded into a fragment of time unworthy of recollection. Like silence is experienced as an absence of sound, the long, boring moment of ‘Langweile’ is experienced as an absence of events. By observing the experience of silence, sounds are revealed none the less. Likewise, I capture fleeting, uneventful moments through those small “events” that occur during time vacuums.
My practice means observation.
I am not interested in suspense, but the experience of duration. The film camera is my tool to capture and materialize my observing gesture. With the use of formal editing rhythms and choreographies for camera I want to evoke a chain of associative readings of the (non-)event caught on camera and expand the unspectacular time as a place/space for reflection and creative thought. I seek for boredom and pastime, in-between-moments (between labour and pastime) and leisure or the ancient Greek scholè (moments free of care and obligations). I use moving image – eventually combined with experiments in sound synchronization – and occasionally text to recollect, install and expand these during moments.