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„DIARY OF A PANDEMIC“ 2020
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.„DIRTY WATERS“ 7`25 min 16:9 sound 2K 2020
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.„CONFIDENCE“ 16:9 2K color sound 5`00 min 2019
The core of the story depicts daily life in a village. This life is more and more interrupted and threatened. The playing children on the main place of the village are a symbol for freedom, joy, and full life. In the same way they are effected by the goings on.
The video also emphasizes the destructive power of political/religious terrorism in which a woman is suddenly driven out of her normal life and hopes. Additional CONFIDENCE is a metaphorical story about loss and hope.
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„NIGHTSHIFT – Metamorphosis of a Flower“ experimental; sound; b/w color; 5`04 min. 2018
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„FATIMA`S DREAM“ 16:9 2K FullHD sound 2016
The film deals with hopelessness and to be caught up into bad family matters. It asks how far somebody has settled in its captive role so, so deeply, that to escape from it seems to be more painful than to remain into given destructive structures.
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„FLOOD“ 16:9 2K color sound 6`30 min 2017
Der Film stellt die Frage nach der persönlichen Identität und folgt der Protagonistin auf ihrer Suche zu den eigenen Wurzeln. Als Symbol hierfür dient die IBEJI (Zwillingsskulptur), die in früheren Zeiten im Volk der Yoruba in Nigeria dazu diente, Mutter und Geschwisterkind zu trösten wenn ein Zwillingskind gestorben war. Die IBEJI-Skulptur wurde vom Geschwisterkind im Rock getragen und erhielt eine Behandlung ähnlich wie ein lebendiges Kind. Die Auseinandersetzung, der Konflikt mit zwei unterschiedlichen Kulturen zu leben und die Hoffnung, trotzdem den eigenen Weg zu finden, bildet das Zentrum dieses Kurzfilms.
Der zweite Aspekt behandelt die Annahme, die Selbstliebe, das Wachsen des grundeigenen Wesens. Und damit auch das sich Befreien aus falschen Gebundenheiten oder Lebensumständen. Ähnlich wie bei den Yoruba steht das IBEJI symbolisch für etwas das gestorben/nicht mehr da ist, oder auch für etwas das erst noch gefunden werden muss. Wie das eigene Wesen , das unverfälschte Ich. In dieser Geschichte wird das IBEJI zum konkreten Gegenstand einer notwendigen Auseinandersetzung und Suche.
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“ LIQUID SPACE “ Video/Videoperformance short 16:9 2K colour 1 channel-video HD 2016
2 persons are separated by a window and are observing each other. But although there is the glass between them, their life`s are one. And permeate each other. The rain (water) is the liquid element which is outside and inside of our body`s. It is the bearer of every life. The arriving and leaving red car in the background symbolizes the freedom to stay or to leave a situation.
„Hickery dickery dock“ is an old traditional nursery rhyme. It is chosen to portend the inability of the person inside the room, to leave her child hold and bad goings on behind. Also the rhyme emphasizes time (the clock), as a membrane in which development and growth is possible.
If traditions and customs become suffocating and make you ill, you have to decide whether you want to leave or stay. This is the core of meaningfulness of “LIQUID SPACE”.
But it is also important to spotlight and understand it in a wider context.
The collective thinking and traditions are able to hinder a nation to accept and renew ways of the understanding of historical issues. By doing so, a nation cut themselves off, from the healing process which would otherwise give new encouragement and stimulation.
In my video the woman is able to make a transformation in her life and leaves the situation.
The tumbling paper symbolizes the tension in which a person remains, if she is unable to find a solution for her life.
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„IN MY HEAD“ 6 `30 min 16:9 s/w sound HD 2014
Migration firstly starts in mind. It is not only a movement of refugees, but also a process of every-day-life, in which each person has to make a clear decision for or against something. To leave a situation, to select unknown ways, means to cut yourself out of things, places and habits. It brings uncertainty and emptiness and of course new life and possibilities.
This condition of upheaval is mirrored in “In My Head”. The video questioned, how open a society is to unknown influences. And will it be able to deal with new challenges and able to understand migration not only as an external move, but become an active part of society, with their consequences in an open but also critical society.
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Photo: Benjamin Udoma „Point of no return“ Badagri, Nigeria
„HINTER DER GRENZE“ „BEHIND THE BORDER“ 16:9 8 min sound color 2014
„BEHIND THE BORDER“ is a part of a series of works in wich I question the situation of refugees, borders, Europe and FRONTEX.
Das Video zieht in der Internierung geflüchteter Afrikaner eine Parallele zur Sklavenverschiffung, die u.a. in Badagry, Nigeria ihren Ausgangspunkt hatte. Heute steht dort ein Denkmal, das an diese Zeit erinnert. Bezeichnenderweise heißt es: „Point of no Return“. Was in perfider Weise auf die jetzige Situation wieder zutrifft.
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https://vimeo.com/enoh27354537
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