I have been carrying a camera for the last twenty-two years. From ages twelve to eighteen, I used a consumer mini-dv camera; I switched to a 16mm Bolex at eighteen. The ensuing archive–which also includes all 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 become a work in itself. Inspired by Pasolini's term, "im-sign," I formulated an ever-growing system of short-hands to codify the filmic gestures in any image. The result is a searchable database that goes beyond people, places, and setting.
I am currently developing a proprietary editing software with artist Wojciech Kosma that read 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 for the last twenty-two years. From ages twelve to eighteen, I used a consumer mini-dv camera; I switched to a 16mm Bolex at eighteen. The ensuing archive–which also includes all 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 become a work in itself. Inspired by Pasolini's term, "im-sign," I formulated an ever-growing system of short-hands to codify the filmic gestures in any image. The result is a searchable database that goes beyond people, places, and setting.
I am currently developing a proprietary editing software with artist Wojciech Kosma that read 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.