Whether I'm making a drawing or a collage or working on a film, it's always a work of craftsmanship. I don't have a script, I don't use a film crew, high-quality film equipment, animation software.
While I was studying film at the Städelschule/Germany, I was gluing sections of images from plastic packaging directly onto 16 mm clear film, frame by frame. My work as a filmmaker follows the tradition of American Avantgarde Film, (Studies at The School of The Art Institute of Chicago). I made Super 8, 16mm films and slide projections, filmed with a hand-held camera without a tripod or trolley.
I am working with digital technology since 2006 and even now my films are created frame by frame. I work exclusively with stop-motion techniques. My fascination is with the imperfect, the blurred images of old mushroom-eaten Super 8 films; the inaccurate prints on plastic packaging, whose graphic representations also find their way into my digital films and leave their traces of cutting and gluing, as well as the film recordings with one of the first digital cameras, which only records 10 images per second, as in the early days of film.
An extended notion of Glitch Art applies to my work. I am interested in the imperfections of technology and in craftsmanship, where I have control over every single frame and piece of sound without the interference of automatic movements and modelling.