Age-old public transport ferries travel to and from Sydney Cove. Gigantic cruise ships that once docked at the Sydney Cove Overseas Passenger Terminal are conspicuous by their absence. The Australian Aboriginal Gadigal People of the Eora Nation occupied Sydney Cove for tens of thousands of years before those aboard the first British fleet of 1788 chose it as the site for establishing a penal colony.

A being struggles to recognize the self in its truest sense, from second to second, taking into account past, present, and future (family picture, watching screens, and the free will theorem), all of which are happening instantly-constantly.

Net-found footage. I was born and lived in Barcelona until two years ago, so I experienced the attacks of this August 17th through the network. In Additive Emotions I show an irrational understanding of the facts by inverting the images and the sound of the first video that I saw. Incorporating light flickers with additives primary colors (primary emotions) that are crisscrossing and overlapping the color, opening the chromatic range of emotions giving light to the emotional impacts received .... ending in a black and silent void..

This work is the raw testimony of an analog obsession: the intimate struggle to tame film material in an artisanal alchemy. The piece rejects polished narrative, assembling itself from discarded test strips and fragments of ruined footage, following the chemical tension of the process. Its soundtrack is a visceral register: genuine audio recordings captured in-situ, which are not a narration but urgent messages chronicling the febrile pulse of the experimentation. It is the intimate chronicle of trial and error, where theory collapses against matter. Here, the process is the real drama. Bipolar is the inevitable quality of this experiment, a chemical struggle that oscillates between the absolute darkness of failure and the unstable light of a barely achieved positive. A work that speaks to those who conceive cinema as alchemy and resistance.

"Ao that" (2024) is an experimental short film considered a fictional job portfolio, partially based on the true story of a 3D fashion designer's journey from the virtual world to the real world.

Underwater, memories swayed—of a distant town, a mountain lullaby, once kept in a digital camera, won by my father as a raffle prize. "Sa ilalim ng Tubig" or "Underwater" talks about places you've once lived through the lens of a child. Shot on an old camera, the film integrates experimental techniques through light and layers to mimic the illusionary visions of one's past.

A Polish plasterer's sacred reminiscence in Nancy.

"The Night-Mare Project" is an archive and art initiative exploring sleep paralysis, collecting diverse narratives for experimental video and installations, offering a platform to examine cultural interpretations of this phenomenon.

A mechanical machine displays a reel of objects alongside music box accompaniment.

"Bon appétit"

By trying to fix a hole to keep our minds from wandering to the other side... “Fixing a Hole” uses my own lunar film images mixed with an experimental electronic music composition including NASA lunar sound recordings.

रक़ीब; Raqeeb is social adults being social adults. A lot of innuendos. People conspiring with each other over trivialities. Existential Discourses. A touch of raunchiness. A black soup of Worldliness. When two people try to individually court, or appease the same individual, the two people are Raqeebs in relation to each other. I suggest that every individual has an identity and an aspirational identity. This aspirational identity holds a performative element within it. In a manner of saying, an individual is always tending towards this aspirational identity and is in a constant state of performance in line with it. It is therefore my belief that we are all operating as a network of Raqeebs in our every-day status quos. The Short-Film is primarily a montage of worldliness and its thresholds, along with the multifarious negotiations that occur within and at their liminal edges. My goal was to achieve a microcosm which represents the domesticity and intimity of our society that keeps circulating norms and novelties, familiarities and strangeness’s through an emotional and ideological economy. रक़ीब; Raqeeb to me is a love story. It is the psychotropic anticipation that is there in romance. A romance between seemingly normal, underwhelming persons. It is a farcical tragedy, proof that there always is a fly in the ointment.

Voices, rhythms, existences in nature and civilization intertwine into an audiovisual poem about the transient body.

For the filmmaker Pier Paolo Pasolini, the “consumer revolution” of post-war Europe was the cause of an Anthropological Mutation that destroyed the human essence and led us to a New Prehistory. New world marked by the ethical vacuum, destructive of the anthropological relationships of the past. But Pasolini saw in the processes of decolonization of peoples the possibility of saving us from that Mutation. Currently, we live in the “global village” (Mc Luhan) and the “Information Highways” of informational capitalism have opened a double path for us. A way that has allowed, from Cuba, Frank Lahera to invite artists from different countries, continents, genres, ages... (France, Cuba, Mexico, Portugal, Argentina, Spain, Colombia) to create this Xquisite Corpse. Artists co-creators of a collective film that contributes to a New Anthropological Mutation that can abolish the unique thought and voice of the “divergent” plurality in the “global village.”

Cinematic travelogue through the Underworld dreamed by the river Amstel. If in the first two parts-Alchemy On The Amstel (I,II) water serves as a liquid mirror, visual oracle that reflects Parallel Universe of the Amsterdam city, than in the Alchemy Of The Amstel (III) the power of the river and key of narration lies in her memory and her absence.

This experimental short film, with a surrealist approach, seeks to bring closure to an anthology series that plays with dream logic and the world of dreams. The connection between each episode is purely based on that. Some are more Dadaist, others far more experimental or even unclassifiable, as they were created to explore and solidify a style. This short film is the culmination of that process, making it the most complete and the one that best succeeds in emotionally connecting with the audience.

This short film or music video is a celebration of belonging, friendship, and time as it is experienced in youth - unlimited and heightened. The story is non-linear, guided by rhythm rather than consecutive action structures. Three friends play together in the city, without purpose or obligations. Fantasy and reality merge. The characters dance, twirl, and perform for one another in the little girl-gang. The city of Vancouver has a spirit, and presents itself in different costumes like a fourth character. The contrasting textures of Digital and Super 8 evoke the patchwork process of stitching a film together.

Haunted by her grandmother's three essential questions - an everyday motivational tactic, which were once an annoyance during her 20s, a woman in her 30s finds herself grappling with their significance as part of her female heritage. As she contemplates the passing of her grandmother and the echoes of these questions in her own mind, a moral dilemma arises. Should she embrace them as a precious female legacy to be passed on to her successors, or abandon them entirely? This introspective film uses stop-motion animation to explore themes of self-discovery, ancestral connections, and the weight of inherited feminine traditions.

The spirits of the forests are trying to warn us. Let us take heed.

A portrait of the forest drawn by ripping off the faces of the forest one by one and reconstructing them abstractly.

A one-minute self-portrait into the depths of the soul.

The film shows the hands that surrounded me in the first moments of life, through the reuse and use of family films and digital footage. More attention is given to my mother's hands. The footage was shot with a digital camera by directly filming the images projected on the TV device through videotapes; such an approach on the medium ideally recreates the mother/child relationship, the first creative source of the daughter images by recalling the intimacy of the bond.

"Taking the dog for a walk" is a general expression meaning you are going somewhere you don't want your spouse to know about; typically something relatively innocent like sneaking off to the pub for a crafty pint. ... also has a number of sexual connotations; "to overpower" or "outsmart" someone ; to smoke marijuana etc.

The film is about the metaphoric display of the sentient and meditative safety in the inbetween stage of life and death.

'HORSES' is an Experimental Short Documentary Non-Fiction Film made with films from 1925, 1927 and 1928 found on the Internet. Following the concept of Bill Nichols's poetic mode of documentary and looking back at the founding voices of avant-garde documentary, 'HORSES' pays homage to the role of horses in motion pictures which has its origins in Muybridge's The Horse in Motion. Accompanied by the famous score of Gioachino Rossini - 'Willem Tell Overture' the film depicts the beauty and the elegance of horses in their wild freedom and in their domesticated roles.

Once upon a future, there was a man who didn’t grow wings. He yearns to fly like others and often has vivid dreams about it. When the dreams vanished without a trace, his world crumbled, but that devastation didn’t stop him from wanting to fly.

Demos, once a tormented lab rat and later a monstrous creation of twisted experiments, found himself stranded on a desolate island, far removed from the trappings of civilization. His stomach gnawed with hunger, he delved deep into the lush jungle in search of sustenance, where he stumbled upon Sarpa Salpa, a peculiar fish known for its hallucinogenic properties rivaling even LSD. Desperation pushed Demos to capture and consume the Sarpa Salpa. As the hallucinatory effects gripped him, his reality shattered into a mesmerizing kaleidoscope of vibrant colors and surreal visions. In this altered state, he delved into the hidden recesses of his own psyche, confronting the monstrous nature imposed upon him and the torment he had endured. Remarkably, the psychedelic trip initiated a process of healing within Demos. It slowly unwound the darkness that had consumed him, allowing fragments of his humanity to resurface amidst the hallucinogenic voyage. As he meandered through the island's enchanting landscapes, the trip provided solace and introspection, piecing together his fractured soul. No longer a monstrous creation but a man on a surreal journey of self-discovery, Demos found himself on a path of redemption amidst the island's vibrant and enigmatic surroundings. The Sarpa Salpa's unwittingly therapeutic embrace had set him on a transformative course that would forever alter his destiny.

Discovered the Periscope social media app on my Apple TV. Appropriated images and voices over the course of several evenings and fabricated those into this collage. The site was discontinued in 2021.

This film explores the use of both sound and text as response and the relationship between sound and soundless answers.

Taking place on a suburban terrace, this video provides a perspective on issues of rage, provocation, and revenge in society through the childhood experience. The children fight on a high rooftop with strictly defined borders, surrounded by the layered urban landscape. Even if one side emerges victorious at the end of the fight, the boundaries are not broken, but rather reinforced by a cycle of revenge and violence. This video is part of the video series called "Ordinary Disasters", which focuses on social issues, specifically the concept of alienation from the perspective of an individual memory.

Here it comes.
Walking along, I filmed the reflection of the city and the sky on the rain-soaked ground. Anything in any shot (a bicycle, a tree trunk, a bench, and so on) that was not reflected on the ground was edited out, creating this assemblage of heterogenous screen formats.

The continuity of a discourse multiplies its materiality. A woman enters the scene and moves across the frame, unaware that the boundaries of the frame turn into her own trap. The continuity of the successive and excessive multiplicity of these women represents the memory that travels between the past and the future, in constant becoming. The transition from the different turns towards the homogeneous, and the feeling of the same, of the identical, begins to grow. Space and movement are the gaps in memory that fill up until they engulf everything, only to be emptied completely. The body becomes ephemeral, and the question of our existence takes on a revealing weight.

A walking film, that wander aimlessly in a digital ambient.

This film excavates the period of ordeal on the site of ‘Busan Modern History Museum’. The site had once been ‘Busan branch of Dongyang-Cheocksik Co., LTD’ during Japanese colonial period, and, soon after independence, was used as ‘Busan American Cultural Center’. Divided by the window frame, the shapes the film projects endeavors to stay in the building and hypnotize us. Split landscape and silent texts examine the weathered memories of the past, and the images we are limited to the exterior of the building. Window, which stands between the camera and the landscape, is almost invisible. This sense of invisibility is thus an evidence of the time endured. After all, the combination of ‘Busan American Cultural Center Arson Incident of 1982′ media coverage and its remains continuously generates afterimage.

Reversal, moving from ignorance to knowledge. The reversal, “anagnorisis,” is a celebration of perseverance, curiosity, and the human capacity to evolve. It's an invitation to embrace the unknown, to confront our own limitations and to seek understanding even when the answer seems distant. It's a reminder that in our quest for knowledge, there is always a moment of revelation, a moment when truth emerges from the darkness of ignorance, and as we become more aware, the light of understanding shines brightly. It's a deeply human journey, where we move from darkness to clarity, from confusion to understanding. Anagnorisis is a catalyst for personal growth and understanding of the world around us.

A walking film, that wander aimlessly in a digital ambient.

As we journey through a child's dream landscape, we witness a fascinating series of paintings and mirrors that reflect and distort our perception of reality.

Experimental glitch abstract film with electroacoustic music.

Experimental glitch abstract film with electroacoustic music. The trauma of natural disaster is highlighted in this first part by a volcanic spectral imagery, a belching of fire, smoke and tremors, where the imagination of this frightening phenomenon and the ambivalence of life and death, could have ensure the benefit of catharsis. But the jolt of war quotes, superimposed on this staggering spectacle, plunges us into an intersubjectivity of telluric emotions and an enclave with two languages, that of the image and the written word.

“Blink” examines Human/AI collaboration as a breakpoint in concepts of creativity and artistic identity.
To 'blink' creates a point of convergence and entanglement; a transitory event that holds the power to fix or unfix reality. Each 'blink' creates a subspace beyond what the retina registers, fracturing space-time experiences. 'Blink-by-blink,' the artist duo unveils an indeterminate destination illuminated with imperceptible happenings. AI generated images narrate speculative futures unlocked in kinship with software based co-dreamers. 'Neither here nor there,' an oscillating push and pull between the human-performers and their diffractive aura creates an unresolved cyborgian-world. Contention and flux are deliberate and persistent. In a high-velocity moment of cultural creation, 'blink' and you might miss it, whatever 'it' may be.
Rooted in the pop-sensibilities of contemporary techno-cultural vernacular and poetics, the resulting experiment is a series of kaleidoscopic artifacts and complex culmination of moving images—purposely and immediately outdating itself — provoking human/AI creative collaboration.

"Extinction" is an ambiguous meaning’s operation that brings together 35 mm film fragments rescued from the trash near the Buenos Aires downtown cinemas; re-edited and Soundtracked mixing solar and planetary vibrations captured by NASA, and noises developed playing kraakdoos and other circuit bending sound devices; to re-signify commercial films narrative from the national cinema and Hollywood blockbusters. in an experimental fusion of textual, sonorous, and visual signs; that as vestiges of post-apocalyptic visions and crisis of discourses, serves the idea for reforming the image and its interpretations to allow new meanings, even ambiguous.
** In different mythologies the solar deity is the maximum power light and force. but, human sacrifice is not enough, the stars can devour us sooner than we thought.
* cinema’s movies has imagined the end of the world several times. We really do'nt know how it will be, but by the way of humanity act looks that we will soon be able to discover it and that it will not be so funny or entertaining as at the movies.

A force is any action capable of changing the state of rest of a body, changing the state of motion, producing deformations and changes in that body. The elements of a force are direction, direction, direction, intensity and point of application. Forces may be contact or distance forces and may or may not move with bodies. Normally, a body is subjected to a composition of forces acting at the same time. This combined action is equivalent to one and the same force.
A storm, an iceberg and a wave, natural phenomena that stun by their violent nature and sublime beauty. Before which the feeling and emotion of being and being are displaced from one's own body. Reaching a state in which the fragility of one's own existence is imprinted.
These uncontrollable and uncontrollable forces appear and disappear in a dance of perpetual transformation. Transforming the territories, transforming the bodies in their continuous and violent movement.

Buenos Chicos is a film made by a wandering, non-human intelligence. The viewer travels through a long night of images. Images constantly dissolve and reform. On the Internet, it's always night.

Inspired by existing natural environments and carried by the notion of porosity of temporal planes and crossing of geological surfaces, this work is a dive into intermediate landscapes, neither natural nor artificial, beyond human memories.