There is a human urge for freedom and security. It is a fundamental contradiction that keeps us occupied permanently. In mundane situation, political decisions or relationships – we’re constantly forced to make a compromise and sacrifice one for the other. I associate this contradictional urge with the characteristic of water to embrace the human body while not holding on to it.

The contradiction that exists  on land doen’t exist under water. I can move freely in all three dimensions without the fear of falling.

The first of two rooms in Dive! II is supposed to make people aware of this characteristic of water.  With a projection of a water surface viewed from below, it simulates a surrounding under water. The absence of weightlesness as the main difference between simulation and reality is supposed to emphasize this characteristic.

In the second room a big water basin is used to demonstrate that our body is alienated from the element. What we were missing in the first room is a utopia we will never experience in its pure form.

With these two rooms Dive! II creates two worlds, one above and one below the water surface, that can communicate through the element. Thus it is possible for the visitor to get involved with the installation in a playful way.

> Diplom Thesis (.pdf – 4,7 mb german) (Layout: Ricarda Porzelt)

> Sketchbook (.pdf – 38 mb)

For the puppet theatre piece “Kafka – der zerrissene Fisch” (Kafka – the torn fish) I produced a video showing Kafka on a public reading. The video was projected as an epilogue at the end of the piece.

(Andreas Hillger, Mitteldeutsche Zeitung 24.01.06)

In Felix Ensslin and Brock Enrights production of Friedrich Schillers “The Robbers” the camera displays the subconciousness of the characters and the person in whose dream all things on stage happen. In the first part of the play, the screen is, partly explicit and partly on an abstract level,  stage for inner conflicts and phantasies.

Apart from doing the live camera on stage, I supported the directors in the conception of the video and by designing video scenes on and behind stage. I emphasized on giving the live video individual aesthetics far from common home video.

To work intuitively I modified my Panasinoc MV-GS400 with a cusom made handle, dimmable light and custom batterie pack.

Excerpts of “The Robbers” by Schiller, Thomas Mann and Nietsche were read by actors accompanied by noise music and videos by Brock Enright. In the last third of the performance a woman “kidnapped” by Enright was tortured and filmed within her own staging of a kidnapping.

The pictures of my camera were projected on a big screen fron stage. I filmed in extreme close-up so the details sometimes blurred into undefinable textures giving way for the imagination of the audience. The audience was tricked into wanting to see more of what it believed was an act of violence it actually rejected to see. Finally, the woman was dragged into the projection by her “kidnappers”, together producing a shadow sculpture within their own image.

EyesWeb-patch for an interactive installation. A live recorded video loop can be manipulated in length and speed by body movements.

Timebouncing is the result of the class “eyes open” by Lars Wieneke. The class was an introduction into the free software EyesWeb and explored the possibilities in processing optical signals. I designed this installation and wrote the required patch.

The installation works on two levels. A person can record a video, using body movements to control the recording. In a second step, it can manipulate speed, length and position of the recorded loop with body movement and position.

A complete description of the installation and a documantation of the patch can be found here (.pdf german).

Director & Screenplay: Murilo Hauser.

Director: Bernd Weißig

„Alices Adventures Under Ground“ is a modern adaption of Lewis Carrols „Alice in Wonderland“. Director Bernd Weißig wanted to use CCD cameras for his production used by actors on and behind the stage. I organised installed the required equipment. During rehearsals I staged some of the video scenes and assisted the director in the implementation of the video scenes.

For the entry of the Cheshire Cat the face of the actress was projected on the brown paper stage setting (designed by Franz Zauleck). By holding white boards into the projection the mouth and one eye were accentuated spatially through the difference in sharpness and contrast. They appeared to float in space.

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Director: Florian Scholz