Category Archives: Films

Gestalt [2003 / 2008]

DV, 5:20 minutes

Four-dimensional quaternions (fractals) are visualized by projecting them into three-dimensional space. Instead of modeling objects of human imagination the realm of mathematics is explored. Only the variables of one formula (x[n+1]=x[n]^p-c) were changed. It took me about a year to get an idea of the transformations and shapes which could be expressed by this formula. Almost another year was needed to render the sequences which I decided to use.

I added some sketches to the Sketches category here, here and here

More on the 4th dimension here

-Honorary Mention at the Prix Ars Electronica 2003
-Best Video/Computer Art at the Asolo Film Festival
-Best Experimental Film at the Lausanne Underground Film Festival
-Low Budget Video Award at the Microcinefest
-nominated for the Imagina Award at the Imagina

Gestalt is available on the following DVD compilations:
-CyberArts 2003 – International Compendium Prix Ars Electronica
-Imagina Trips – Volume 2

Gestalt_HD_2008 [2008]
HD, 5:20 minutes

A re-rendering of Gestalt in HD and 16:9. Since this film is basically a visualization of a mathematical body it is theoretically possible to render it in as high a resolution as technically feasible. One would always get more detail. The visual structures and transformations that one can see in the film are only inferior representations of much more complex visual ideas that exist in four-dimensional space and are not bound to a certain resolution or 3D representation. In theory it would be possible and more true to the original formula to show the visual transformations as a 3D hologram where one could then perceive different perspectives that are of course not available in the conventional film format.

Hautnah / Skinflick [2002]

16mm, 7:30 minutes

Three different levels of skin working with film / film working with skin:

– fingerprints on clear leader
– carefully arranged successive skin prints
– snapshots of light-painted skin becoming leather

The images are accompanied by soundscapes using aural skin scans performed by the cartridge of a record player.

Finished with a grant from the Filmbüro NW

Best Experimental Film at the Microcinefest 2002
-Kodak Award at the 36th New York Exposition of Short Film and Video
-Honorable Mention for Animation at the 35th Humboldt International Short Film Festival
-nominated for Best Experimental Film at the Dahlonega International Film Festival

Silver Screen [2000]

16mm, 5 minutes

A film made entirely with foil paper, exploring its possibilities in the realm of the audiovisual. For each frame a new foil paper landscape was created changing the parameters of light and perspective. In order to match the rapid flow of images several foil paper sounds have been restructured and edited.

Silver Screen received an Honorable Mention at the 3rd Seattle Underground Film Festival and at the 21st Annual Black Maria Film & Video Festival

Superbitmapping [2000]

16mm, 2:30 minutes

A projected text is going through two transformations in terms of presenting information. At first one is able to understand its meaning. In the second stage however the text has been transformed into digital language which can only be read by a computer. Finally, with the third level, the digital code has been used to convey a flicker effect. The text is now a mere physical sensation devoid of intelligible contents.

Blutrausch / Bloodlust [1998]

16mm, 4:20 minutes

An attempt to constitute a human / machine dialogue. It shows the filmmaker’s blood as seen / heard with the eyes / ears of the machine which is a film projector with optical sound. He affixed his blood onto clear film leader by cutting into the flesh and then pressing the film leader onto the wound. Additionally he had blood taken with a syringe and afterwards dripped it on the film leader. fresh and clotted blood was used.

Blutrausch/Bloodlust received the Ann Arbor Film Coop Award at the 38th Ann Arbor Film Festival in 2000 and the Special Jury Award at the 5th Microcinefest in 2001

K.I.L.L. [1998]

K.I.L.L. – Kinetic Image Laboratory / Lobotomy [1998]
VHS, 3:30 minutes

An accumulation of 180 different perspectives of a bank’s skyscraper. Each perspective takes just one frame.At first there is chaos, then systems of visual organisation develop. The sound consists of a sampled phrase meaning: “Our power is boundless and our means are inexhaustible”. The editing plays with the relationship between the words and the images creating different meanings in breaking the succession of the words.

K.I.L.L. was nominated for Best Experimental Animation at the Bradford Animation Festival 2000.

Expanded Cinema Pieces

Instructions For Films – Peristaltic Fantasy [2007]
Idea for a film on a white card

Over forty international artists who use the moving image in their work, were sent a white card measuring 20cm by 15cm, with the following invitation: ‘On the card enclosed propose instructions for a film. You may render the instructions by any means and appendages.’

Here is what I came up with:

Peristaltic Fantasy Front

Peristaltic Fantasy Back

From ‘Instructions For Films‘, a publication


Der verbotene Film/Forbidden Film [2006]
16 mm

An experiment in film narration. Read more here.


Möbius Filmschleife/Möbius Filmloop [2003]
16 mm

A 16 mm loop spliced together like a möbius strip meaning that the one end meeting the other is turned by 180 degrees. To ensure projectability double perforated film used. Download the actual loop [3 mb] here. Choose play looped, watch for about 5 minutes.


ZUSE [2002]
35 mm

Structural films use mathematical means in order to arrange frames. A reflection on the serial nature of film. ZUSE is an exact copy of an original program for the Z3 computer made by konrad zuse in 1941. He is considered the father of today’s computers. His calculating machines (Z1, 1938 & Z3, 1941) were programmed with perforated 35 mm film. The program used to make ZUSE originally helped to factor out a polynomial. A small comment on the mathematics involved in structural film and thus a meta-structural film.



Feuer Frei/Open Fire [1998]
16 mm

Shots of something burning, clear and black leader treated with fire and smoke. Unscreenable!


Der Antifilm/The Anti-Movie [1997]
Super 8

Black leader arranged in various ways to prevent screening. Sprocket holes cut off at some sequences. Other sequences spliced together with the sprocket holes at the opposite side. In case of projection this film would rather destroy itself than expose its black soul.