My work begins with the observation of real events that concentrate questions relating to power, economy, communication. These events act as filters through which a story of another order unfolds, a story that explores the gap between the ideals we project and the truth of our barebones existence.
I latch onto situations, forms and places to develop my work, which assumes a multitude of forms. I like the idea of acting like a ghost. Ghosts don’t build things. They move things, objects and people. Spirits seem even more conceptual: not only do they not build but they ain’t got no body, so they might take possession of someone who does have a body (the way you’d rent a car) in order to get the job done.
What I do is always guided by a concern for visual economy: concision and precision matter most (which doesn't mean I'm a minimalist). Art for me should strike like a kung fu kick that has the staying power of an LSD flashback. My propositions flirt with reality, mirror and contaminate it...
The subject of investigation is worked to the point where a state of suspension sets in, where the frontier between reality and fiction often proves contrived. As a matter of fact, I don't believe in fiction; the best fiction seems just a perfected state of reality (Thomas Bernhard and Franz Kafka come to mind, David Cronenberg's eXistenz takes the price for best science fiction film ever).
I work more and more often directly on location, by choice, accepting and/or affirming the constraints and contingencies, the pros and the cons, that accompany a given situation. I wish to keep overhead and storage to a minimum. As a result, works are often redone rather than shipped. They are occurrences of an idea, different each time around: they are the idea, evolving each time around. The logic of shipping seems as archaic as the economy of art in general and as boring as the artist cum businessman type. I wish to remain an amateur, work with committed people in an involved fashion, taking the time necessary to do things that count.
Music is an important activity for me. It has only begun entering the work of late, as a narrative element in some short films I've made. Until then it remained a parallel activity, running the gamut from the poppy to the folky to the more improvised and haphazard, assuming incarnations such as air frankenstein, , hippy air frankenstein, royal air frankenstein, gentle general hair peace and francesco the singing flea.