Zooming into the landscapes of those films from my shelf that mean the most to me was comforting.
Maybe there should have been a feeling of guilt for working with other people's images, but there wasn't. These images were needed to build a home for the zebra, the you and the me.
Although I decided that I was quoting, it wasn't quite that. Technically, in terms of credits, yes, but the idea of citation seemed to imply a stricter connection than the one I was dealing with here. With great joy I collected blurry fragments from the margins of the former film scenes. They immediately felt like fellow images to me, coming to enfold the zebra you & me entity.
In retrospect, I would say that I brought images together so that they could confer - as experts, so to speak - about open space, joy and bewilderment.
The work is based on the footage of a horse I had spontaneously filmed on an unsuspecting walk in 2018. Starting this project in spring 2021 I rediscovered the material and instantly knew that I first of all had to film some material in reaction to the encounter with that horse.
There is something strange about this kind of certainties. I don't question the certainty when it arises. Even if a decision made in this way is revised at some point, it does not change my confidence in this kind of decision-making.
My work happens in the computer. I am often amazed at how much I feel at home in the editing software. It is my instrument. I love listening to what it has to offer. For example, when I layer the images, it makes suggestions for the sound that I could not have imagined. The mode of working is mainly a reaction to things that are there or that happen, rarely do I have the impression of creating from scratch. Above all, I am grateful for the calmness and the duration involved in this process.