The cinema provides the main source of inspiration for my video works and digital collages. I apply ideas I encounter in film theory and history with psychoanalysis and philosophy and use them to interpret situations and moments in life that border between fiction and reality. Personal experiences confirm my belief that cinema shows a unique perspective on our shared social and cultural heritage as a record of collective memory.


Using found footage enables me to combine images that have an easily recognisable cinematic origin with my own photographs, sounds and footage. The use of digital film gives my work an aesthetic that provides a suitable contrast with the found material and allows for a direct connection to the current media age. Sourcing footage mainly from the midcentury culture of film, I address issues of nostalgia and the medium of film in its transformation to the digital age. Many of my videos contain direct reference to the projection or recording with analogue film, yet they will never be shot on it. I believe it is this paradox, a desire for analogue film technologies that will never be fulfilled that gives my work the tension that defines this age.


With my work I investigate techniques of manipulation, our personal encounters with certain films and the influence of ideas that have been deep-rooted in us by having watched films from a very early age. I create a sense of immersion while deconstructing the mechanics of cinema.  My work contains both the pleasure of watching while trying to retain a critical stance on voyeurism and scopophilia. By creating environments wherein to watch my videos I try to encompass the nature of our contemporary encounter with cinema, one that has expanded beyond the darkroom of the cinema and has exploded, as Walter Benjamin once predicted, into the society as a whole.


One of the most important things about my videos is a certain atmosphere, a kind of reverie or sleepwalking, the state that in film theory is referred to as oneiric. For me this state is reflective of our experience of life, as typical consumers, but also as endlessly hedonistic and oblivious individuals. Yet it can also be seen as a symptom of alienation from society. Disconnected from traditional structural systems like religion, the state or the family we find ourselves wandering endlessly through tropes we are familiar with, which in my case is the language of film. As a comprehensive language, one that can be recognised subconsciously or consciously by people from various cultures and backgrounds, it seems to be universally accessible and particular at the same time. In my videos I work with narratives or merely fragments of recognisable elements. Either way has offered me ways to engage with structures, systems and images that show my obsession with film and the culture around it.