– In (S8) we pay special attention to filmmaking in real time in its different forms, such as film performance or expanded cinema. Could you tell us about your experience and interest in this field?
I think they are other ways of looking at cinema. In my case I realised that I think about taking films out of the conventional cinema screen when I make pieces that have not been conceived from the transmission of a message or narrative. I find it interesting how we can perceive them through other senses, in the end they are stimuli that reach us just by reconfiguring the space or the position of the spectator for example, and that change the experience. I’m very interested in thinking about how one can feel through the body and the disorientation or excitation of perceptions. I often come out of these kind of projections without really understanding what I’ve seen, and I think that’s wonderful, to pay a little less attention to reason.
– What are the stimuli that drive your artistic work at the moment and what role do the processes of analogue cinema play?
(Phew, what a difficult question). The stimuli are many and varied but something doesn’t always come out of them. There is always something going on in my head around the encoding and decoding of language and its forms. How to transform a certain ecosystem of perception from one medium to another. I’m interested in this translation from image to sound and from analogue to digital. I think using film depends a lot on the nature of the project, sometimes it’s not necessary. But the truth is that the process has something very interesting that engages you because you can do a thousand things with it. Many times you come across images that are created randomly and transform a film, and those games don’t happen with digital. For the moment, until the cans I have in the fridge run out, I’ll keep playing with them.
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