Unpacked
Energy Transforms Matter
The Picture of Light
On the Edge
Wall Monochrome
Liquid Horizon
The Prora Project
Travelling Landscapes
Permanent Daylight
Constructed View
Space Monochrome
The Colors of Black & White
Blow-Up
Tautology
Das Fenster

 

Stills
Installation Views
It is an interesting phenomenon that while the metre measures the raw material of analogue film, for the completed movie, units of time are employed. A filmstrip encircling some space will, if you like, give the size of that area in metres. At the same time, watching the film will show the extent of the space in time. Time is to film, as perimeter is to space. This is supposing that there is an immediate connection to be made between the size of the space, and thus, the duration of the film, to the image on the film. Conversely, this could be the interrelating vector of light, image, space and time's liaisons. An analogue film screening is the presence of not only the image, but also the physical material of the film. The visible movement of the film made infinite and its projected image takes up a particular position between the image and its effect on space. The time hidden in the spatial movement of the film, the spatial relation of the image, and at the same time a camera moving before a projected image, is the duplication of space, the simultaneous presence of the space of the image and the camera.
The project "Ontology" is based on an empty film-loop, which is supported by spools to roll around a certain trajectory. The empty film passing through the projector is transformed as if into an image of light, but may also be regarded as a particular signal-lacking image of the abstract. In a manner of speaking, here the pure film's material is transformed into image.
Without the light of the image there can be no space, because the perception of the darkened location of the screening is dependent on the light from the projected image. Filming the movie that vibrates as a signal of light, and then re-filming the projection from this, gives the object of the film: itself, in which the relation of image and space becomes the story of the movie. Thus, the camera records the projector and, at the same time, the associated film-loop. One of the major differences between analogue and digital movies is that the digital process leaves no evidence of a physical nature: its appearance is a type of coded signal, of which the functioning cannot be recorded on film.
In the self-reflecting programme, every new scene re-generates the image of the image of the image. All this happens in a particular relation of time, because one of the properties of the film-loop is that it eliminates the linear structure of time, thus the re- and re-imaged is a film within a film, at the same time a return in the timeless plane of the infinite sense.
One of the particularities of this process can be that not only the physical film, but also its image, re-circulates.
Recording of the screening of multiplied recordings, in an ever newer space of the space of the space, with only a single motion the camera zooms in, as if returning through planes of time to the origin of the movie: the empty screen. In a timelessly designed moment of image identity, at the intersection of the opening and closing frames, the use of the loop allows the space constructing system of the image to re-start.
It is perhaps worth mentioning that for the making of the film, a digital, rather than an analogue technique was used, and the scenes were cropped together with editing tools. Thus, not a real, but an imaginary version of the picture was realised.