The fellowship, awarded by the Australia Council for the Arts, will allow me to dive into old footage I’ve collected over the years, and didn’t have time to address.  I will be able to watch, catalogue, note, and dig into what was potentially latent material, things that I pre-empted, sensed, but that I will be able to see and articulate more clearly with distance.

This is something that I did for FRAGMENTATION, showing how valuable it is to take time to reflect.  I wrote more on this in an article in  Fragmentation has been screened in a dozen festivals and more than 25 venues so far, which I will try to update in the top menu “about” > screendance festivals.

My interest in performance for the camera comes from my performing arts and visual arts education. I discovered the camera when I was at La Cambre in Brussels, a school formed on the philosophy of the Bauhaus, examining how different artistic disciplines inform each other.  La Cambre is where I completed my Masters in Visual Arts. The camera was a great tool to unify the performance and visual spaces and it allowed me to notice the dance of light: the light in perpetual motion, revealing what we see.  The camera became like a pen: documenting but also writing and refining ideas, drawing the frame.  At that time, it was a super8 film camera, with the tactile feel of cutting and pasting the celluloid in a linear fashion. With the digital reign, I became more and more interested in editing, which allows to design spaces visually and “auditively”.

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