My practice is defined by particpatory processes and sensorial experiences that are expressed in moving image and developed over long periods of time. Our relationship to nature and each other is an overarching theme. Healing epistemologies, traditions and rituals are explored as methods, driven by the search for belonging.

At the center of my films and installations 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”.

My method of working is organic and relational, however each project is preceded by a period of research informed by diverse factual sources, as well as fictional ones, just as my films are composed both of staged as well as non-staged footage. The interweaving of the two emphasises the ambiguous border where they meet and overlap. 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.