Based in Hong Kong
Q: So what is the point of the Film?
A: (laughs). I guess it just is what it is. You watch it and it takes you somewhere. Somewhere outside of your everyday existence. You look at the stuff and it might give you something. For me the best analogy for this kind of work is music. You listen to a song and it gives you something. Or not. You like it or not. It’s not like you need to be told what it means, or what it’s supposed to be giving you. But then if you’re interested, you can find out more. You can just google it. Just like people can read this interview for some background on my film. - Excerpt from Third Culture Film Festival, May 27, 2016
Based in New York City, NY
Q: How do you decide the elements you include in your videos? Do you follow some search pattern or story telling?
A: Coming from a figurative painting background, my videos are like portraits of a character which is also a sculpture machine. When I’m making a piece I focus on building this structure and the narrative emerges from the way the character functions and interacts with its environment. When I am searching for elements, I look to meld things together that are in opposition- Natural and synthetic, alive and inanimate, soft and hard. I’m inspired by the history of the grotesque in art. Paintings and sculpture of animals, plants and human intertwined. I see this happening in real life. Our plastic waste becoming intermixed with our geology and eco systems. - Excerpt from Visionaire, 2015
Based in Berlin, Germany
Q: How did you find your abstract universe of images?
A: I always was drawing and tended to get lost in details, for example of stones or plants, especially in my school years. I also loved to sit in the train or car with the transportation movement interfering and creating uncontrolled line traces on paper. In the end I was lucky that my parents provided me with access to a computer early on (which was not common in Eastern Germany) so I was captivated in a world of drawing software, 3d modelling, programming and fractal generators. The more I immersed into these possibilities the clearer it became that the computer allows to create “the unseen” which is not limited by physical, temporal or spatial properties. The “initial artistic impetus”, like for many other artists, was “Nude Descending a Staircase, No. 2” by Marcel Duchamp. This was building a very conclusive bridge between the real and the abstract for the first time. - Excerpt from Lines Fiction, 2017