ARTIST STATEMENT

I think that one of the most beautiful aspects of our lives is meeting others, listening to their stories, sharing their journeys of imagination and learning from the experience. For me, filmmaking broadens and deepens this experience. It gives me space to follow my curiosity about other people and create lengthy encounters with them. Looking back at my own life, it has given me an amazing archive of memories of all the people I have met.

The attempt to understand the other and through this, ourselves, is at the core of what filmmaking is for me.
I realize that we might always be outsiders in the lives of other people, however, making and watching films can help bring us closer to the other and understand what drives that person. I see film as the ultimate medium of relationships, where the story of the other can (temporarily) become our own.

My films are an exploration and visualisation of our layered reality; going beyond that which is visible at first glance. These are narratives that help us deal with those aspects of life that we might find incomprehensible; that help us to make decisions; help us to survive and to connect to our feelings, memories and imaginations.

The encounter is an essential element of my work; it marks the beginning of my work process and is a subject of study itself. During the course of the encounter I am exploring and varying my role and position and the possibilities this presents for the viewer to assume my role, become part of the encounter and to connect their own personal narrative to the one in the film.

Intimacy is a fundamental aspect of my work, essential to sharing and exchanging these invisible inner narratives during an encounter. Keywords in my work method are observing, listening and contemplating.
A recurrent theme in my work is family (generations); the physical and invisible mental relationships between family members and their interaction with their surroundings, often their homes. I am interested in the influence of conflict on a family.

I have a documentary approach to filmmaking in which I treat reality and imagination as equally real; an approach I adopted understanding that for many people, the mental reality is often more real then the physical one.

I find it interesting to contextualize my work in different ways: positioning it within the field of documentary filmmaking, relating it to the world of visual arts in which I teach or exploring its relevance in the fields of anthropology and psychology.