This Video Does Not Exist



Description: This Video Does Not Exist, a remix of black/white screens in the history of cinema, switches the register from presence to absence, from the actual to the virtual regime, from the visual and visible to the non-visual and invisible, evoking what has been suppressed, censored, overlooked or enfolded by the dominant cinematic modes of representation. The black/white screens have been “marginalized” in cinema, often dismissed as noise or deviance in a system of signification. This Video Does Not Exist restores these missed moments, inviting the spectatorial attention to shift towards the ‘gaps’ between images, as the images themselves are now placed in the unusual for them function of ‘transitions.’ The result is a feature-length remixed “movie” that takes one on a tour of film history, while also challenging traditional definitions of cinema as it relocates itself onto new platforms.



The screening was accompanied by a short talk on the contemporary remix era, the emerging genre of the cinematic remix and the notions of copyright and fair use in the digital age.



Abstract Visions

Description: My project Abstract Visions consists of four pieces, namely Untitled, Mosaic of Life’s Gravity, Fire and Ice, and 5,778K5,778 K. My goal is to make each abstract piece stand apart in terms of style, color, atmosphere and the emotional response they evoke in the viewer. These videos are non-figural, non-narrative and make an attempt to break the established patterns of visual conventions.




An Act of Ironing

Description: The ironing board is set against an original poster for the film Wages of Sin (dir. by Herman Weber, 1938), “ a picture that reveals all” and that did not comply with the censorship guidelines of the Motion Picture Production Code of 1930, also known as the Hays Code. Because the Hays Code famously censored overt depictions of sexuality on film, emphasis is placed on two inanimate and stationary objects represented by irons, reflecting “the conjugal rites of the machine.” This attempt to make otherwise motionless objects “move” and to animate “the drawn image” implicitly comments on the evasive maneuvers that an artist must employ in order to comment freely on the nature of sexuality. Interaction between the outdated and the newer models of irons presupposes the change in definition regarding the nature of intimate contact (and its depiction) over time. Drawing on the metaphor of an iron as an object emitting steam and heat, the sequence also speaks to the ways that people hurt each other in passionate relationships, including through intimate contact, and leave “stains”, both directly and indirectly.

Published in The Sex Injury, online curated publication. Issue 2. April, 2011.


Paper People

Description: My protagonists, as follows from the title, are people of both genders cut out of paper, manipulated by anonymous male and female hands. I feel that imagining my characters “on paper” underlines the concept of the ephemeral nature of human existence. I place “the action” in the context of my everyday environment and situate it among objects around which we spend so much time on a daily basis. Our lives are cluttered by rectangular objects such as screens (TV, computer, cell phones), books, calendars, IDs, picture frames, etc. I feel that my life in particular has been affected by what is “the book of books” for me, “the dictionary,” which has been the intermediary of all my thoughts and emotions, a medium that I have to go through to express myself. Through some simple reenaction and manipulation of paper people’s actions by placing them in different environments, I was curious to explore some of the philosophical questions that we are faced with: ephemera, transience, time, and the ways frames and frameworks influence our lives and experiences.

The original version of this video was screened at New York-St. Petersburg Institute of Cognitive and Cultural Studies, State University of New York at Stony Brook and St. Petersburg State University, Saint-Petersburg, Russia. July 2005


Five Elements

Description: Five Elements is a short abstract piece which is centered around the interrelation and interpenetration of Earth, Air, Fire and Water, with the addition of Text as the fifth element. Text represents a man-made element that is shown in direct or indirect contact with the four basic elements of nature. Functioning meta-referentially, this short video reminds us of the fact that in order to have a dialogue about nature and landscape we as humans have to resort to the power of the word. The video was shown at Bring Your Own Beamer, Burchfield Penney Art Center in Buffalo, NY in September, 2012.


Description: This video explores the relationship of time and space through the totalizing power of global consumerism. The realm of the visual in graphic arts, television, and film cannot evade the insinuation of consumer goods as its principal subject; it’s only possible now to comment on the invasion of branding, labeling and advertising in the visual imaginary. These images are not the ancillary component but the very essence of popular media. Just as the shopper is compelled to survey the price, place of production and date of expiration of consumer goods, so the viewer must regard the act of spectatorship as an act of consumption. The filmstrip (in the video) blends space (through its numerous “made-ins” and bar codes) and time (through the representation of expiration dates) into a unified non-stop consumer chronotope, to adopt the neologism of Mikhail Bakhtin, which unifies time and space. Although the brevity of the video suggests that a resolution can be achieved and the projector stopped, it’s merely a delusion that the machine of consumerism will ever cease its mad pursuit of profit.