slow decay of a still life over a period of three weeks with several cameras using different shot sizes and perspectives . Then the real-time video and sound footage was processed to speed up the rotting process to a visible level . Time is heavily manipulated in this process and emerges therefore as the main element of the work : Different parts of the image are arranged running simultaneously forward and backward , in fast motion , at different speed , or being looped – the still life starts to “ breathe ”. Growth gets confronted with destruction , aesthetic beauty with rotten ugliness .
In particular , how do you view the concepts of the real , the authentic and the imagined playing out within your works ? traditional film codes , revealing techniques of cubistic painting tradition which deals with time , space and perspective .
Time is explored as an aesthetic variable and is treated and performed differently in Still life in motion : First I filmed the
The world how we perceive it is only an interpretation of our minds , of what our senses receive and this interpretation is based on our individual previous learnt and cultural experience . Documentary film theory has always acknowledged the fact that it is not possible to represent reality in a film and that it shows the viewpoint of the filmmaker : the camera itself disturbs the authentic moment . The same applies to ethnography and field research which acknowledge that capturing reality or the authentic is pretty difficult if not impossible . Hence my film and photographic practice has always been based on the principle that it is manipulation and interpretation of reality and never authentic . This is the reason why I started working heavily with digital manipulation technology , collage and filtering and also why I like working with multi-voiced narratives and constructed imagery from different sources . Often I aim to create a subtle and poetic aesthetic within that : manipulating reality is always a central issue in my work .