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Nameless 6 min 52 sec

Nameless is a film project, developed for the group exhibition at The Crypt gallery.

Hundreds years on after their time, not much information exist about the people who's final home is the Crypt Gallery. The most interesting personal data , the research produced was the rent records. There are names and dates of the death and nothing more...

My challenge was to address the human aspect of passed lives through possible connection and association to how we all feel and what we know about life: every life ever lived was probably full of challenges and emotional up and downs. I used the shadows and dance as references ( index) to create the association with this universal feeling.

                                                                                                                       To achieve a compete sensory aspect of the work, I used classical piano composition to add sensuality and intimacy. Sound had a big role to play as the choice of music with elevating emotion had completed the work

   This project is a visual investigation of the light and dark contrasts and through that, also the search for the individual connection to the collective condition of mortality .

   The process of de-fragmentation and slowing down some of the recordings, created a layer with laggard movements. Slow moving figures expressed a strange authority over everything else and at the same time created feeling of calmness and safety.

    Different speeds of movement in various layers together with light contrasts, created a sense of a familiar and unusual occurrence in the same time.

With this work I was researching the idea of multiple realities, recently supported by quantum physics.(Quantum Self) In the past these ideas would have been classed as transcendental, routed in metaphysics.

Based on Husserl's philosophical sensual objects and Heidegger's real objects, this work attempts to search for the possible “presence” in-between the empirical and sensual existence using human as ingredient and the observer. (Graham Harman)

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