I have been carrying a camera on a near-daily basis for the last twenty-two years. From ages twelve to eighteen, I used a consumer mini-dv camera, then switched to a 16mm Bolex at eighteen. The ensuing archive–which also includes all the footage shot of me until age twelve–contains hundreds of hours and tens of thousands of shots.
Over the last decade, my system for archiving the images has matured into a work in itself. First, I separate each individual shot using an NLE, then apply metadata. Inspired early on by Pasolini's term*, "im-sign," I formulated an ever-growing system of short-hands to codify the filmic gestures in/of any image. This creates a searchable database that goes beyond people, places, and setting. For example, I can quickly compile every shot using a long lens from a car pointing up at the sun through silhouetted trees.
I am currently developing a proprietary editing software with artist Wojciech Kosma that reads my metadata, and batch-edit image pools using algorithms.
Between 2012 and 2022, I made a trilogy of short psychodramas that include Apsis (2012), Weathering (2015), and Norma (2022). The films revolve around anxieties of intrusion.
I have been carrying a camera on a near-daily basis for the last twenty-two years. From ages twelve to eighteen, I used a consumer mini-dv camera, then switched to a 16mm Bolex at eighteen. The ensuing archive–which also includes all the footage shot of me until age twelve–contains hundreds of hours and tens of thousands of shots.
Over the last decade, my system for archiving the images has matured into a work in itself. First, I separate each individual shot using an NLE, then apply metadata. Inspired early on by Pasolini's term*, "im-sign," I formulated an ever-growing system of short-hands to codify the filmic gestures in/of any image. This creates a searchable database that goes beyond people, places, and setting. For example, I can quickly compile every shot using a long lens from a car pointing up at the sun through silhouetted trees.
I am currently developing a proprietary editing software with artist Wojciech Kosma that reads my metadata, and batch-edit image pools using algorithms.
Between 2012 and 2022, I made a trilogy of short psychodramas that include Apsis (2012), Weathering (2015), and Norma (2022). The films revolve around anxieties of intrusion.