One of the things I keep trying, is to make a film into an object.
From the early days on (even in my small video projects) I wanted my films to have a cinematic feel.
I was drawn to the aesthetics of film and not so much to the aesthetics of video art. Since I had no means (nor the patience) to set up proper film productions, however, I filmed mostly scenes I encountered during my travels and edited them, to reflect on the medium of film or simply to try and tell a story.
There are recurrent themes. Cultural identity, masculinity, relations of care and of power play a part in many projects.
I have a broad interest in what culture is, and in how it defines us. In the wake of that, I am interested in how language works to shape our behaviour and thoughts and to shape relations between people.
Film has similarities to language.
In many of my works, I use editing (or sometimes deliberate non-editing) and installation, to define the meaning of the images I present–– either to enhance the subjectivity of my view, or to be able to reduce them to pure form.
Since I worked a lot with footage filmed in Africa and in the Middle-East––localities, that seem to have a strong tendency to get 'read' in a particular way by people in the West––the idea of freeing these images of their attached narratives, or to question those narratives, in the way I deal with the images, motivated a lof of my experiments.
In recent years, my attention has shifted to making fiction film proper. Writing and directing fiction allows me to play with language and with ideas about culture, identity and power more directly. Although now finally able, to make things that can be termed 'cinema', I am still interested in them being objects.
Apart from moving images, I make drawings and occassional performance work. I have been a dedicated expressionist draughtsman since childhood, and as the film projects grow more complex in scale and take more bureaucracy to get made, I find myself drawing in the studio a lot.
The drawings are direct. They want very little, except to be somehow fresh. It's all about the markings, about the contrasts of colours and media, that lead to a form of expression beyond language...
Yet, when paired or combined in series, something of a language again comes about.
And, as in my films––and as in cultured beings, for that matter––the tension between their inner expansiveness and the boundaries that define them, is the main point of interest.