As a filmmaker, I have so far been interested in body-mind relation, and more specifically in the way it’s embedded in processes of disenchantment - the disappearance of the magical and religious as a way of explaining the world with the advent of modernity, science and progress, and the resulting loss of meaning. My films are spaces to welcome the stories that emerged from this relation.
Between 2016 and 2022, I directed three films – Emptiness attraction (2016), House of doors (2021), two shorts documentaries, and Phainesthai (2022). In these productions, I explored disenchantment by questioning how people in the films relate to an urban environment, Brussels, and by meeting the intimacy in which they're inviting me. Emptiness Attraction follows the wandering of a woman from the anti-psychiatric network in Brussels. House of doors and Phainesthai have been created inside temporary occupation (antisquat) were I used to live and evoke the end of a cycle. What emerged from these stories and their characters are imaginaries, emotions, memories, thoughts and the way they transform themselves and resonate with the city, its architecture, rhythm and hectic flux.
Recently, my practice as an artist has been to observe, collect and think from my ‘I’ position about figures, spaces, practices and knowledge that stem from what I would call an ecology of darkness. It seems to me urgent to create, particularly through art, spaces to think the obscure. By this word, obscure, I mean those sometimes unsightly, but no less essential sides of the human soul - madness, violence, death, so-called ‘negative’ emotions such as anger or anxiety, but also what remains in the shadows, hidden, uncertain, undefined, inconceivable.