So much of our communication and learning occurs through the computer technologies, disembodied living seems ever more inevitable. As our technological capacities grow, we are looking for ways to reconnect with our bodies, our creativity and our spirits - Daria Halprin

How does my internal environment look like, feel like? And how does this relate to the external environment? I am a self-taught video artist and these are questions that guide my practice. 

In an exciting DIY mistake making discovery process of trying everything out, I combine amateur tools to trial and error “techniques.” Basic knowledge and limited access to high end professional technology are intentional parameters within which to manoeuvre my creativity against the all pervasive technical conventions. With a “soft digital processing,” where high sensitivity compensates for low technical skills, I draw the line, and my mark, between self and technology.

Like a third eye, the camera lens functions as a spiritual guide, while technology is the patriarchal archetype I disobey to and mess around with. In other terms the computer becomes a laboratory where to run alchemic experiments and play with the magic of digital transformation.

Trapped either behind or in front of a mysterious magnifying man-made glass contraption, I craft my nature out. A keyhole through which to peek at, video editing is a space where to recognise and seep what comes out of my body, an opportunity for deep listening and filtering, an occasion to witness the manifestation of the unconscious meeting the conscious.

Not concerning myself too much with principles of image quality, nor adhering to professional video making rules, gives me the freedom to create often muddy videos that reflect a lunar resistance to technology. This “methodology”  is the embodiment of a practice that connects me to feminist art making history.

My point of view is that of the emotional body claiming the indecipherable. Beyond appearance, that of the inner world is a messy aesthetic that wants to be free from consumerism and cultural restrictions that in Daria Halprin words limit the body and soul’s imagination.

A part from instigating a process, the task of filming is to document an idea in action. While recording an emotional body interacting with an environment, I frame how body and surrounding contextualize one another through an idea acted out by the body. 

Editing, instead, is a creative observation exercise where to balance narrative, experience, imagination and possibility. Overall drawing from the everyday, I manipulate my realities so to reimagine them in new forms hoping to resolve the climate change crisis inside of me.

To sketch out ideas and study their potential, video is a “power tool” that records internal movements that I try to translate onto the moving of an image. Like a set of digital lips with a tongue vibrating vocal cords, these rhythms of emotions want to tune in with the movements all around. Breathing, eating, shaking, dancing, are expedients often used to synchronise with other bodies and engage with them physically and conceptually as well as to connect us to the extended body of our bodies.