Length

A portrait of a place and time, concealing and revealing, a figure in the middle of a strongly structured, mechanized nature unfolds life from within.

A Study of a human figure in a room.

Sheet No4 examines the outlines and borders of a photograph and a human being. Sheet refers to a contact sheet; a sketch of a photograph, where different options and outlines are visible.

A composition of a human figure placed in a challenging position. The impossibility of the composition is discharged into movement and sound, into a stream towards the free form of the performer, camera and image.

A portrait of a figure standing towards a painterly seascape becomes a portrait of the photograph itself, its borders, surfaces and meanings.

From detail to landscape opens up a figure in the middle of a wintery landscape. The day turns into night, turning the human figure into a silhouette, a statue.

Departing Shadow examines the forming of a connection and its failure. The interaction and attempted dialogue between a space, a performer and a camera. 

A speeding moment in time, a blink of an eye, when the inner and outer selves reveal themselves simultaneously.

Moving image is framed and re-framed like the process of capturing still photographs, exploring the relationship between the still and the moving image.

Time, transience, and presence through interpretation, repetition, and imitation. 

Presence and absence, exit is an entrance

Commissioned by MoMA PS1 and Creative Time for MTV’s Art Breaks series

No Dot on the I questions specificity, what makes up the essence of something, where a thing turns into something else — pushing against the edges of signs, binaries, categories.

Created in collaboration with the New York beatboxers Kid Lucky and Shockwave, and the spoken word artist Vocab, “Beatbox” portrays sound and movement as self-expressive navigational tools. In the style of city symphonies, the beatboxers have created the entire soundtrack of the film by interpreting and imitating the sounds of their surroundings. A mysterious spotlight shows the urban space as a stage where, following the words of Vocab, “every street corner has the ability to tell a thousand stories”.

The material of the piece is a found image—a photograph shot on a film positive in the 1950s, with faded colors and a scratched surface. The work directs the gaze away from the subject matter of the photograph and focuses intently on the edges of the image. It hovers beside the subject, looks past it, while a new image is created.

The gaze slides back and forth with the camera along the edges of the image. It seems to be searching for a way out but gets stuck in its repetitive motion, like a thought that has become fixed in place.