I make work the way some people watch horror films: to take reality inside the body.
Not to make horror — but because that is how I stay in contact with a world that is, in fact, cruel and absurd and sometimes funny.
To look is to think. When I point a camera at the world, I am not documenting it — I am encountering it. The act of watching folds back into the act of existing: to perceive the world is to locate oneself within it, and to locate oneself is to perceive the world again. This loop does not resolve. It is where I work.
The unease, the anger, the fear, the small absurdities of daily life — these are not subjects I choose. They are what ignite each work.
I have been doing this for over twenty years, within a radius of roughly 200 meters: the people around me, the places I pass through, the ordinary situations I find myself in. I work as an office worker during the week and as a video artist on my days off. This is not a contradiction I resolve. It is the condition from which I make work.
It began in Berlin, with Bruce Nauman. What I understood then was that I did not need to be finished. I could remain unresolved — and still make work.
The works move between social fiction, personal documentary, and comedic experiment. What holds them together is not a style but a question: What kind of world are we living in? And am I part of it?
Video suits this because video does not obey. When I film, reality shows me what I did not expect. In painting, I controlled too much. With video, the world collaborates — and sometimes it refuses.
Over 300 works have accumulated from this attempt. The world cannot be fully understood. I proceed anyway.