Notion, part 1, 3, 4, 2022
In the cinematic self-portrait, my figure disappears behind a colored silicone fabric. My hands grope their way into the foreground behind the spun barrier. The kaleidoscopic presentation gives the film a textile feel and resembles a Persian carpet pattern. Music: kiss of death by kadir demir (Artlist)
liberation strike, 2019
The posting of complaints under #MeToo has been greatly welcomed. It's time for women to finally speak up! But it's actually classic victim speak. For all the efforts to silence women over the centuries, complaining has always been allowed. After all, the old reservations about a victim, the idea that she is partly to blame, still feeds into the trendy concept of resilience - a strong child says no! A self-confident woman knows how to defend herself!
In my video work, the woman with the braid takes her old life into her own hands and castigates herself for attributes that seem disastrous. Every blow promises a happy liberation from the supposedly female victim role, captured in a selfie.
swing right, 2019
The strengthening of right-wing populist organizations and their popularity, by an ever-increasing stratum of the population, are the starting point of this works. In the film "swing right" excerpts from the AFD election program can be read.
The desire to discover something new drives us into untapped, remote regions. If one was successful, a statue of the conqueror in a proud pose once bore witness to it. Conquered, on the other hand, often experienced a rapid decline due to gifts from the so-called cultural peoples. Their fate is blinded from our consciousness, it remains - albeit as a trophy - the portrait of a "savage". My portrait of a conqueror vanishes with small disturbances to the conquered and refers to the doubtful success of perseverance.
beyond her control, 2015
The film is formally based on a dervish dance, which is traditionally reserved for men alone, but the ego dissolves in the rotating dance and so there is no longer any female obstacle to encountering omnipotence. A pulsating, minimalistic sound whips the spinning, caught in the veil of the curtain, the expression of perfect domesticity.
out of, 2014,
Inspired by Alma Larsen's text HINTER HER, the viewer walks behind a lonely girl (or HER for female) in a black hooded coat somewhere outside. We see a child's secret desire for the great outdoors and the fulfilment of this desire. Even if his gaze is obscured - the liberating feeling in the OUTSIDE, BEFORE the "protected" childhood - this happiness is great.
(...) We're being watched. Such a German street, in the country or on the outskirts. No one on the way. Where are the people? Is there a curtain moving? That only occurs in novels. The thing is uncanny enough in itself. Because nothing moves, even if someone observes us from inside: suspicious, tied up or paralyzed, pitiful or thirsting for blood. The curtain hangs, wrinkling like a wedding train, like a veil, le voile. (...)
In this work, the synthetic lace looks like a chador to protect the woman from covetous glances. At the same time, the use of curtain fabric creates an irritating connection to the cliché of "German cosiness".