I shape conditions or brief moments in people’s lives and emphasize circumstances that are easy to neglect or disregard. With my video camera I collect documentary material, scenes I put together into a film. Sometimes I take stills from a scene as a starting point for a series of paintings. I am searching for small movements or minor changes that occur within something durable and ongoing and that after a time progress in a cycle-like pattern. This means an ongoing time that always returns but each time in a slightly altered form. In this, time creates monotone movements that in it self creates a rhythm. A monotonous rhythm indicates the stillness of time. It provides a space of silence, a silence that can be used for thoughts and reflections.
I mostly employ video-film, and painting
or drawing. In my films I create a space with a subjective camera
and while painting I study the human face. In my work both techniques
need each other – to
work together with movement and time. In a painting I seek to find
a concentration that simultaneously holds time that has passed and
time that will come to pass and in that give movement to my painting.
I often plan a series of paintings from stills from a film sequence.
In the film, the rhythm is the basis of time. Similarly, my series
of paintings creates a rhythm of time, in which the spaces in between
the paintings also must be considered. In both media, I seek to generate
the dramaturgy through the monotone rhythm. I also create a chronology
that runs in a spiral-like cycle pattern. Each time it is expected
to return to its starting point it reaches a new point instead, similar
but different from its origin.