With your work, you capture the stillness of a movement; when did you first observe the idea of stillness? You know, because many tend to focus on the motions rather than stillness, especially in this fast-moving world.
Movement is always there, also in stillness. What is beautiful about stillness is that it invites the viewer to take a moment of pause. Then, through a meditative contemplation of the world, we start to find movement, even where it seems that nothing is happening. To be able to contemplate the subtle movements of the universe is a way to go deeper into the origin of things, into the mysteries of the world. Large movements are just a consequence of smaller movements, pure, subtle movements.
Your work has a unique aesthetic to it; it reflects the language of nature. So, when you create a film or music, do you become one with it? And if so, then how do you get back to the real world?
I think every human being has their own authentic language. To get in touch with this deeper self, diving through all the layers that take us further away from who we truly are, is what I think it’s our biggest mission: To let our true soul speak what it has to speak in this life we have. Being in the real world is being side-to-side with our true selves. An artificial world is the one we build to fit something external, a standard that is not defined by us but by someone or something else. I believe we can own our freedom and our lives. When we are moving and acting according to what we really are, we’ll live in the real world.
The rule for me is that all of my work has to align with this authentic connection with myself; if I cannot follow that rule, I stop. I reflect and decide to move in a different direction until I find a road that is true for me. When I create, I try to be transparent with what I feel and what my intuition tells me.