Canis Lupus

The philosophical dystopia presents warning outlines of the near future where modern technology will not be a sign of progress, but rather decline. Behind the layer of film images, there is a monster created by computer animation, whose abstract virtual body represents the invisible ideological administration.

An animated depiction of the half-waking state before we fall asleep. Various people describe how they see the state between waking and sleeping, while the visual show hypnagogic hallucinations – i.e., the vision that accompany the process of falling asleep. Colours are intertwined with shapes to create abstract landscapes from which every now and then concrete objects emerge.

Excerpts from a television interview with Eugène Ionesco in an adaptation of his absurd story The Colonel’s Photograph, which is dominated by the motif of a swimming pool that conceals drowned bodies. The visual pun is a compilation of techniques: animation, video, 3D graphics, and text, which give the seemingly random scenes a sort of structure.

This intimate essay presents the inner experiences of pregnant woman before and during childbirth. As she tries to come to terms with physical pain and as she mentally processes the situation, more complex questions arise as well. A documentary record mixed with questions and visions that reflect the mind and brain of a birthing woman.

An interplay of horizontal and vertical lines, as well as other types of lines, found in in the public space, evokes a lyrical narrative combining them into a visual continuity in one image. Among found objects, events, and spaces, new relationships and continuations are created.

A metacommentary movie about a movie, in which the director and the cameraman are filming a report about the extinction of butterflies and ecosystem collapse, while in the editing room they polemise about ways to communicate clearly and comment on their dramaturgical decisions, as well as express frustration with the difficulty of reaching a modern audience with more complex communication.

This audiovisual collage places shots from Hitchcock’s Rear Window into paper set decoration, expanding the original movie’s ideas in a playful and provocative mode. As viewers, we must get through to the characters within a maze of colourful layers and alien objects that visualize the process of medialization and point out the framework limiting our view.

Mona Lisa for robots. A series of moving images created using binary operations in an open source software program called Revolver, which is similar to image synthesizers in which text instructions are transformed into visual data. The soundtrack was created by recycling pixels and converting color values into sound waves.

Signum Supra presents art as a shamanic ritual, as an aestheticized tool materializing principles that cannot be grasped by consciousness. Gripping structures that resemble rocks and landscape contours float in indeterminate space, serving as a springboard for contemplating the patterns of perception beyond the visible and the tangible.

A dialogue between audio and video reinterprets a scene from the movie The Stranger (1967, dir. Luchino Visconti), in which the condemned debates with a priest about the absurdity of life, death, and the non-existence of God. The debate is abstracted by the skewed image as seen through cut glass and the meanings of their words take on a certain timelessness.

A portrait of sunlight, created on 35mm film negative using a camera obscura built by the filmmaker. The camera records a plant from morning to evening at several-minute intervals. The sequence of images compiled from these photographs create a cinematic sundial.

The filmmaker explores the principles of movement while dreaming, and constructs them outside of the world of dreams by inserting graphic elements into images from the real world and simulating the space of a computer game in the virtual world. As she passes through these fictional worlds, the main character takes on a real as well as animated form.