"A fathers first time being alone with his daughter" He notices that something is horrible wrong, his daughter Freya is missing her face, where the eyes, nose and mouth should be, is just skin... With an old folk lore book he desperately tries to fix Freya, but is the book really helping him?
My father often jokes that he's both a police officer and a hunter. While he has a busy job, he always returns to the tribe on his days off— to check traps, clear the water source, and weed the land.This film documents the time we spent together at the mountain spring. Step by step, he passed on his knowledge of the forest to me. I came to realize that he was trying to hand down the wisdom of my grandfather — how he drew water and lived in harmony with the land.
In search of her lost son, a beleaguered Mahia enters a mystical forest. Chancing upon an otherworldly apparition, her grip on reality begins to fracture.
Inspired by the tradition of visual music (in particular, the Fischinger-copped JS Bach sequence that opens 1942's Fantasia), Scantasia is a rhythmic composition performed on a network of analog synthesizers, where the same voltages trigger rhythmic, synaesthetic shifts in both image and sound. Neither sound nor image is cut to the other; both co-emerge in the flow of real time.
Filmed over the course of several years in southern Colorado, Hemispheres is a quiet study in pattern and place, as observed through the window of my living room. Shot on Super 16mm film, the project layers multiple time-lapse exposures of cacti and seasonal light, capturing subtle shifts in color, atmosphere, and rhythm. Like the inlay of a sundial meeting a garden’s creeping vines, what emerges is not a photograph of a singular view or moment, but a composite drawing of duration—using light to trace the intersecting cycles of growth and dormancy, brightness and shadow, warm and cool, seasonal progression and retreat…
Boiling the piss (2023/2024, 2’ 40’’) is my debut 16mm film made at the coast near Den Haag (NL) with artist Hedwich Rooks. Together, we collected our urine and shared it in one pot. We boiled it down and watched the water evaporate until the dark brown minerals started to accumulate at the bottom. Boiling the piss is a process film considering the values embedded in bodies through a shared metabolic conversion of waste. It follows my artistic investigation into researching urine as a photographic developer and/or possibly a fixer too. The negative film was developed with the traditional developer D96, while positive was printed with the urine-based developer. The film also contains a chemigram which combines the leftover materials transformed with the urine liquid inviting a viewer into the metabolizing processes. The sound was added in 2024 during the residency at SOLU/Bioart Society, Helsinki, as a site specific reverse recording of their toilet.
"Carta Monir BDSM Film Club" is an experimental video edited from footage shared with me by artist Carta Monir that I edited using analog synthesis tools during my residency at Signal Culture in November 2024. All effects and audio in this work were generated by means analog synthesis tools, whose input/output methodology I have argued is impertinently queer because of the reactivity of the medium. The work is concerned with queer/kink theory, leather culture, and is part of an ongoing series of conversations and works made between d'Andriole, Monir, and other trans people in Michigan on the role of sex and violence in trans becoming as minoritized victims of transphobia, transmisogyny, and other violence's within the American empire.
“The Split” is a performative video documenting the action of splitting a phallic vibrator that tackles the psychoanalytical theories of “penis envy.” This theory was developed by Sigmund Freud regarding female psychosexual development, and states that young girls experience anxiety upon realization that they do not have a penis. The video takes a playful twist on this idea, by splitting the phallic object with a reciprocating saw, and opening it up, only to reveal its multiple layers: at first it starts to resemble a vagina, but in the end hides another phallic shape inside. It thus serves as a reminder of the anatomy invested with fantasies, of the anatomy as a radical contingency and of our discomforting and ambiguous corporeality.
This is a series of two short experimental films reimagines mid-century 16mm educational films through a practice of deep listening and material intervention. Drawn from archival films once shown in American classrooms—many focused on Native American history and U.S. civics—the works are edited blind: the video image is physically obscured, and the structure assembled entirely through sound. Guided solely by listening, each film is built through cuts of the audio tracks only, without post-production manipulation or audio treatment—resulting in a sonic collage where meaning emerges from rhythm, tone, and interruption. Only after the edit is complete is the image revealed—becoming a kind of accidental score. The series is an inquiry into the intersections of music, noise, and pedagogy—exploring what it means to listen to history rather than watch it, and how sonic reassembly might unsettle the visual authority of mid century educational media.
When debt collector George receives the strange assignment to sleep in a coffin for one night, he realizes that he can change both his own life and the lives of others with simple means.
Franky, a brilliant car thief with a promising future, turns his back on crime for the sake of his wife and child. Yet the ordinary life of a citizen feels alien to him. When an old employer forces him back into the underworld, he faces his greatest test, torn between family, freedom, and the dangerous temptation of his dark past.
Koray (30) is a young white-collar worker who deeply feels that his society is becoming increasingly corrupt and that his anxiety about the future is constantly growing. For all these reasons, he has decided to move abroad. Shortly before moving, his two closest friends invite him to a farewell dinner. Even on the way to the restaurant for dinner, he encounters examples and characters that justify his decision to emigrate; these encounters further increase his unease.
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