One of my greatest assets is my third eye, the gaze of the stranger. The one who has to change her mode of perception to successfully adapt to new territories. Thus displacement and the significance of belonging to a place are recurring concerns in my work. I’m interested in subjective perceptions of reality. The reality is one, but everyone experiences their own reality based on their perception of the world. The capability of film – of addressing several senses simultaneously makes it an appropriate medium to explore presence and different points of view, different “perceptualities”.

At the center of my films is the exploration of space, body and tactility. The space and the other are recognised through a traveling camera, where the framing reveals the object bit by bit, and together with an active, searching focus it creates the illusion of tactility, a haptic image. It’s a personalized gaze, where the framing stays more in close-up than not, and stems from an intention to coexist with the object rather than to isolate and observe. This approach I call “a visuality of presence”. Through this approach the spectator is invited to immerse itself into the film, into the space created in the image and the sound, and experience the film like a permanent presence.

My method of working is organic and relational, however the projects are preceded by a period of research informed by diverse factual sources, as well as fictional ones, just as my films are composed both by fictional, staged, as well as documentary material. The interweaving of the two indicates the interest in the ambiguous border between them, just as the blurred border between memory and imagination. The processual approach in the method is guided by an intuitive sense, taking into consideration circumstance and external participation. The editing – and simultaneously the scripting – process becomes a way to define the grammar in the material, to create connections between different storylines. Hence the work is a continuous creative process of discovering the film, a venture where risk is constantly present.