Something on a Summer's Noon

In the State of 'Land Knownable', 'The Building' AKA 'The Center' is the only existing structure. Gaze, a (non)entity recruited by 'The Building', shadows and observes two (human)beings named Regine Olsen and Man Ray. Gaze creates moving image reports to assess their cerebral resistance to spectatorship.

XX and XY find themselves struggling against oblivion, while an external entity referred to as ‘The Rose’, infringes their identities. The hows and whys are not applicable, although XX and XY claim that ‘The Rose’ distorts their understanding of the roles they've occupied.

The film explores the spatial dimensions of a being who alternately enters and exits a fragmented world of projections where thoughts, memories and dreams blend into a strange loop of treacherous images. The film explores multiple layers of in-ness such as inclusion, depiction and representation.

The film is a fragmented representation of an artist's experience at an art gallery where Wolfgang Lehmann, as a part of his masterclass, shows 2 of his films and in-between, a film by Kurt Kren.

An 'outsider' discovers a mysterious 'being' wandering in an unknown realm. Through dreams and visions, the 'outsider' finds a gateway to the realm and navigates this bizarre new world 'of other spaces'.

The miniature plant pot, the mother, the son and the dusty ceiling fan. Unmasking is poetry is self .Thoughts Out Of Season is a contemplation of loss and grief as much as it is a search for identity and peace. The film concerns the transformation of an eternally wandering soul and his fragmented understanding of home and motherhood.

Through episodes that display a high degree of idiosyncrasy, we follow a stranger who creates his own inverse reality and an imaginary order which serves to stress his inexistence elsewhere. The film is a personal documentary that represents a constellation of past time and suspended time while attempting to explore the Foucauldian phrase 'a placeless place'.

A desaturated image of Edvard Munch’s painting Der Schrei der Natur (The Scream of Nature) is overlaid with several monochromatic images of landscapes and seascapes. The film uses an original soundtrack employing a discordance between sound and images to explore the incongruity between the auditory and visual sensory modalities. The soundtrack in the film is a constant distraction in terms of visual perception and vice versa, i.e, the images in the film are a constant distraction in terms of auditory perception.