Where does your desire to express yourself through art come from?
Being an artist is about discipline. You learn how to fill an ink pen, and copy a Rembrandt. You learn about form, structure, and to journal regularly. You study the Masters. I started as a photographer. Spending hours in the dark. I used to paint with the chemicals under the red light. Bringing up only portions of images, like pieces of sculpture from antiquity found under the ocean. I lived in Santa Barbara, an artist’s paradise. I photographed fashion. I started painting wall murals, just for fun. People saw them and wanted to pay for them. Art is how I have always made my living. It is just who I am. About 16 years ago I started writing screenplays. I am visual. I think in visions. I started recording my visions, and making them into screenplays and short films.
What are your goals as an artist?
The goal is to reconnect people with their higher self through art. There is a big part of your brain that exists beyond the ego. This is where art takes you. Music, painting, sculpture, movies, poetry, create a voltage that can open the mind. Film is very unique. It creates an alternate reality. A place where people can experiment with their goals and intentions. Words are sacred. They open doors to the unconscious.
What is your opinion on the cultural industry?
Currently, the rich culture of music and art is being overshadowed by politics. I am very much into studying Ancient cultures. I believe the ancient writings and art are passages to our inner world. The culture today is focused on the outer world. Too much thinking. Not enough keeping the mind still. When the mind is still, the inner world emerges. When the Inner world and the Outer world live in equal balance, creativity ignites. Creativity is not subservient to the state.
Do you think independent artists today have enough opportunities to share their creativity?
You have to make your own opportunities. You have to set intentions, write them down, and visualize what you want. Then trust. It rarely happens exactly as you visualize, but “If you build it, they will come.” Thank you, Field of Dreams.
What new project are you currently working on?
Funny you should ask. I am currently co-writing a baseball film with my husband.
Where does your desire to express yourself through art come from?
I do not think that desire is the appropriate word. It is more of a need, often an obsession. I do not perceive my activity as an artist as being one that I chose. It chose me. Since my teenage years playing keyboards in a blues/R&B group in Canada, I always felt the need, the obligation to express myself artistically – to formalize and present perspectives on my personal experiences and relationships with my environment and the world at large. If I was obliged to try and trace the origins of this involuntary necessity to express myself, I suppose I could trace a good part of it to the cultural-based, liberal arts upbringing I received from my parents. Although not involved in the arts, both my parents exposed me to various forms of art from a very young age, primarily in the area of classical music (my mother) and the blues/jazz (my father). I was encouraged to learn to play instruments (piano, tenor sax, cello) and to draw and create objects with my hands. Creative critical thinking was always prioritized. I was also extremely fortunate to have parents who loved to travel and provided me with the opportunity to experience various European cultures growing up. These cultural encounters had a lasting, enlightening impact.
Although I spent many years at university studying economic theory, I never believed I would work as an economist. I studied it simply because I wanted to better understand the micro- and macroeconomic relationships that in so many ways shaped the world in which I lived. I always knew my calling was elsewhere. I left my doctoral studies to become a photographer and within three years I had left the commercial photographic world behind to pursue a career as a photographic artist in Paris and New York. The diversity of my work (photography / video / music) is undoubtedly due to my work at the American Center in Paris where I founded the photography department and was later named Director of the prestigious Center for Media Art and Photography. This institution was responsible for my first contacts with the video art world as well as with the variety of world class contemporary music composers and musicians that generated an interest in audiovisual creation of various forms which persists to this day.
What are your goals as an artist?
Broadly speaking, my objective is to create work that addresses the human condition, work that speaks to the ambiguity, uncertainty and doubts that inevitably characterize our existence. I do not seek to pontificate or to convince the public of the superiority of any given position, including mine; instead, I wish to create work from a very personal perspective that raises questions about our existence – on both personal and more general conceptual levels – work that provokes reflection on what we think and feel, how we act and why. I want to raise questions of relevance to our personal and collective states of mind.
What is your opinion on the cultural industry?
Over the past 40 years, I feel that what was once an environment with a diversity of actors playing different complementary roles (some commercial, some promotional, some analytical, others purely creative) has, in fact, become an industry in the true sense of the word – one in which the pursuit of money and public recognition dominates the cultural landscape. This is not to say that these pursuits are not important, but in my view, they should only constitute a necessary complement to other more important goals involving the creation of quality works exploring new perspectives and demonstrating independent critical thinking on subject matter. Any field that is run like a business, ultimately becomes a business and I feel that in the cultural domain, money should be in the service of provocative, probing art, not the contrary.
Sadly, the group most affected by this evolution are young artists struggling to carve out a place for their work. They have fewer opportunities to confront the public in relatively risk-free contexts and therefore have less and less time to fail without potentially serious consequences. Such experiences are important to the development of truly personal perspectives. From the outset, the pressure to impress and succeed is significant and the price for failing to impress with the requisite monetary rewards for all, can be high and long-lasting.
Do you think independent artists today have enough opportunities to share their creativity?
The obvious answer is no. More new and diverse opportunities are, by definition, always welcome. We live in conservative times and yet, in spite of the rather negative evolution of the indie art universe over the past 30 years, I believe things are improving in what is perhaps a sustainable manner. In my field of experimental film and video art, there has been a proliferation of festivals and showcases specifically devoted to the field over the past five years. The internet has provided opportunities to share our work on a scale and in ways unforeseen only a decade ago. Add to this the fact that home audiovisual studios can today produce work of premium quality that liberates independent artists form the burden of finding financing to pay for expense post-production studios. What remains to be seen however, is whether these new opportunities to exhibit, promote and distribute work will be in the service of truly innovative art, raising relevant questions in provocative ways that stimulate thought or will simply go the way of much of the mainstream art world.
I remain optimistic.
What new project are you currently working on?
My most recent experimental video “NOISE” is, in fact, the introductory segment of my international, interactive installation project entitled “The Choir of Discontent” which is ongoing at the present time.
The project is designed to expose the frustrations, anxieties, hopes and fears of everyday people in countries around the world. More specifically, it deals with the fact that the Internet and social media platforms have provided most of the world’s population with a readily available and inexpensive outlet for expressing opinions and expectations on a daily basis. As a result, we live in a world in which expressing ourselves about the challenges we face has perhaps never been easier and yet, it is increasingly difficult to be heard and understood because of the level of “message noise” generated by the quantity of thoughts being simultaneously expressed as a direct result of such ease. Rather than making us more empathetic and attentive to each other’s needs, it has in many ways alienated us by creating a cacophony of grievances and expectations that is so vast, rich and diverse that it is impossible to pay attention to individual expressions of fear, apathy, hope or estrangement in any meaningful and effective manner.
The Choir of Discontent re-contextualizes this preoccupying situation in the form of a two-part installation consisting of the single channel video “NOISE” that serves as a thematic introduction to a multilingual interactive video installation composed of walls of video images of persons from different countries who have been asked to express themselves freely and spontaneously (without preparation) on topics related to their frustrations, deceptions and hopes. Individual interviews will rarely be decipherable as programmed waves of simultaneous presentation render them little more than meaningless noise. One or more microphones, video cameras and monitors will be installed to permit the viewing public to contribute their thoughts and feelings live in real time.
The interviews with participants from Brazil, Canada, the USA and France have already been completed by video artist collaborators in each of these countries. I am currently trying to organize interviews in Asia and Africa. Hopefully all of the necessary interviews will be completed in 2025 and post-production can begin in 2026.
Where does your desire to express yourself through art come from?
Ultimately, I believe it’s an existential choice for all serious artists—a way “to know, to really know,” to question and understand all aspects of life and living.
My background is academic. I was a professor of dramatic literature in the English Department at California State University, Chico. The playwrights I taught became, in turn, my teachers. I often return to their insights on life and their techniques of plotting to inform my own scripts. For example, in one of my stories, a couple escapes to a forest to avoid parental sanctions—a concept that echoes Shakespeare’s A Midsummer Night’s Dream. My version, Ghost Town, NM, explores the blurred line between reality and illusion.
My film ALTA CALIFORNIA, which has won multiple national and international awards, had its origins when I first arrived in the U.S. I started out at a community college before transferring to UCSB. In my U.S. history class, the focus was on Westward Expansion, the Constitution, and the Bill of Rights. But there was no mention of women, Black people, or Native peoples. That struck me deeply, and I set out to learn more about the Indigenous peoples of California.
The more I read, the more I realized that this was a story needing a broader audience. Much of what is taught, both in schools and in society, is only a partial story. For instance, few know of Captain Felipe de Neve—a humane and now largely forgotten opponent of Padre Serra. Over the years, this journey of discovery became ALTA CALIFORNIA.
Beyond the existential drive I mentioned earlier, I’m drawn—as an immigrant—to explore stories of those who, by choice or circumstance, find themselves as strangers in a strange land.
I relate to the immigrant’s struggle to “navigate as safely as possible through an ever-shifting landscape of independent and unpredictable powers” (Alan Jacobs), and the challenge of reconciling inherited values with newly adopted ones. I aim to explore these themes in both serious and comedic dramatic forms.
What is your opinion on the cultural industry?
Horace said it best: our aim is “to teach and to delight.” It’s a delicate balance.
You rarely see a creative work that’s too “teachy”—that’s more the domain of academic writing. However, I believe we’ve gone too far in the other direction, sacrificing even a modest degree of depth for pure entertainment. Too many films today feel superficial, overly animated, and lacking substance.
We live in extraordinarily complex times. Every day we’re challenged in how we see ourselves—within our families, nations, and global society. Yet so many scripts being produced today seem intent on repeating the formulas of the past. The “hit” that mimics a previous hit.
One simple exercise is to compare the weekly or monthly box office Top Ten with the Academy Award or Oscar winners. They rarely overlap.
Do you think independent artists today have enough opportunities to share their creativity?
As I’ve implied, these are challenging times. And yet, new projects that truly reflect those challenges are rare.
Agents and producers often cling to what’s safe, familiar, and easily marketable. That’s why I’m always encouraged to see festivals and contests that actively seek bold, unconventional voices—those scripts that live outside the boundaries of the expected and acceptable.
What new project are you currently working on?
Watching the success of the Harry Potter series, I realized how deeply English it was—rooted in that cultural context. So I set out to write a YA novel called The Boy Who Earned His Magic. It’s a fantasy adventure-quest set in the diverse and underexplored landscape of the United States, with its rich array of characters, cultures, languages, myths, and dramatic settings.
I’ve since adapted it into a six-episode television series (one hour each). At the end of the story, there’s a mystery—one of the characters doesn’t return home. That became the prompt for a seventh episode.
I’m also working on a continuation of The Mongrel, set in a world where a virus has attacked male fertility. What are the implications?
Other projects may follow. I’ll keep seeking, keep creating. I have no intention of “going gentle into that good night” (Dylan Thomas).
Where does your desire to express yourself through art come from?
In the tender dawn of my existence, I embarked upon a sacred journey with art and film as my chosen mediums—ever striving to expand the boundaries of what these forms can embody. Though I wield the cinematic lens, I still consider myself a painter, shaping films and narratives with brushstrokes of poetry and rhythm.
My creations are meticulously filmed and edited, destined to grace diverse canvases—projected upon islands and edifices, or more intimately upon cushions, canvases, and even gravestones. I also delve into documentary filmmaking, short films, and synchronized cinematic installations, which find homes in galleries, art halls, and museums. My short films travel the globe.
In my universe, the boundaries of cinema dissolve; only imagination dares to stem its boundless flow. Perhaps this passion was kindled in my earliest years, cradled upon a sheepskin rug before the flickering light of the television—my hearth of yore—where the magical world of film awakened my senses to scent, taste, and sound, reviving memory through the viewer’s gaze.
And so, I seek to shatter confines and fling open the doors, forging spaces for awareness and reflection through the alchemy of moving images.
What are your goals as an artist?
The journey itself is the destination—a living canvas painted with both light and shadow. Existential questions have always stirred the depths of my soul, and perhaps the truest aim of my artistry lies in opening portals for reflection. That, to me, is a noble and necessary pursuit.
What is your opinion on the cultural industry?
This question unfurls a tapestry of complex, layered answers. Culture, to my mind, transcends the rigidity of industry—it evolves, breathes, and pulses like waves upon a restless sea. The cultural industry, by contrast, may often seem static, formulaic, and less hospitable to the artist’s wandering eye.
And yet, both language and industry shape our creations. My creed is simple: live and let live. I trust that true art—imbued with the soul of its maker—seeps through the seams, igniting hope, insight, and vitality within both culture and its commercial counterpart.
Do you think independent artists today have enough opportunities to share their creativity?
That depends on the nature of the artist’s work, but my heart responds with a resolute no. There is an ongoing need to carve new paths and create more spaces for free, unbound expression. We must challenge the limits imposed on independent cultural workers—and perhaps, in solidarity, reshape the very conditions under which we create.
Wild Filmmaker stands as a shining example of how the cinematic landscape can be reinvented. Long live untethered, international art—art that knows no borders, only bridges.
What new project are you currently working on?
At this very hour, as the dawn whispers, I am unveiling my experimental short films, The Rorschach Test and Not Without Gloves, to the festival circuit and far-flung venues.
My newest cinematic odyssey, The Aesthetics of Failure, emerges as a concise yet profound tapestry—experimental, poetic, and rooted in the universal human contemplation of failure. Rendered in stark black and white, it bathes the screen in the quiet courage of imperfection’s haunting beauty.
I am currently immersed in a vibrant creative flow—developing new scripts, textual compositions, and visual narratives, all coalescing into contemplative cinematic tapestries. I invite the audience to remain attentive, their gaze open with anticipation, as these embryonic visions unfurl into a symphony of new horizons, where the soul of cinema dances with the infinite.
Where does your desire to express yourself through art come from?
My desire to express myself through art began as a spark in childhood, between the ages of five and seven. My grandfather, who adored old Hollywood, would tell me stories about legends like Greta Garbo. One day, he bought me a beautiful vanity, sat me in front of the mirror, leaned down behind me, and said, “You’re going to be just like her.” That moment planted a seed. My great-grandparents came from Czechoslovakian—hardworking and focused—and my grandfather carried that same determination into his love of storytelling. Over time, that early desire grew into a deep, unshakable passion for filmmaking and creating art. It’s a passion that continues to guide my work today, shaping every story I choose to tell.
What are your goals as an artist?
In the beginning, my goals as an artist were fueled purely by desire and passion, that overwhelming need to express myself through acting and filmmaking. As my journey unfolded, I became curious about every phase of how the “film wheel” spins, so I wore many hats: actor, producer, editor, and director. Directing, in particular, gives me the ability to shape the intention behind a story. I realized my goal is to tell stories that uplift, inspire, and hold space for truth, creating a safe place for these stories to be told without hidden agendas. The freedom of independent filmmaking allows me to keep the vision authentic and storytelling grounded in honesty. Ultimately, my goal is for audiences to feel deeply connected from the first frame to the last, leaving the theater not just entertained but carrying thought-provoking questions that call them to their own action, whatever the subject of the film may be.
What is your opinion on the cultural industry?
From my perspective, the cultural industry is a vast and powerful space, but one that is often driven by familiar formulas and recognizable names. For independent filmmakers who don’t come from the Hollywood system, it can be an uphill climb, not because the work lacks merit, but because the platforms, resources, and recognition often gravitate toward those with established backing. In my experience, the independent side of the industry remains an under-discovered world. Without the luxury of large budgets or marketing machines, indie creators have to rely on resourcefulness, community, and an unwavering commitment to their stories. And yet, this is where I see the greatest potential—stories told with freedom, honesty, and no hidden agenda. I may not fit neatly into the cultural industry as it’s typically defined, but my purpose is clear: to tell stories that educate, entertain, and inspire, and to show others that it is possible to create meaningful work even when starting from nothing. I believe the industry has the potential to build bridges between cultures, and while I don’t claim to have the full answer to how that happens, I can do my part, telling one truthful story at a time, building connection by connection. Perhaps one day we’ll look back at this interview and see how it all came together.
Do you think independent artists today have enough opportunities to share their creativity?
While independent artists may not have the same immediate access to resources or platforms as large-budget productions, opportunity is still very much alive. It’s easy to use the lack of funding or connections as a reason not to begin, but the truth is, the heart of filmmaking—and of all art—is the story. If you have a story that needs to be told, whether it comes from your own life, someone else’s, your community, or a global perspective, the right circumstances will align to bring it into the world. Opportunity often comes down to perspective. When an obstacle appears, I thank it for showing me a new way forward, then ask how I can adapt. Sometimes the path may look different than expected, but creativity thrives in those moments. For independent artists, the opportunities are endless and abundant—you simply must be willing to see them and take that first step.
What new projects are you currently working on?
We recently completed Invasion of the Space Vixen, which has just been released and is already garnering awards on the global FilmFreeway circuit. Building on its success, we’re moving forward with Vixen Conquers Fixen, the second installment of what will be a three-part series, concluding with Vixen Rules. I’m also awaiting the final edits for Pick It Up America, a documentary focused on beach stewardship, ocean safety, and the often unseen dangers of waters that appear calm and inviting. Another project in the editing stage is The Sound of the Soul, which explores the transformative power of sound therapy—not only as a physical healing tool but also as a way to restore emotional balance and bring harmony to the world around us. In addition, I have two other documentaries currently in the thought-provoking stages. There are many projects in motion and countless more stories to tell—I’m always curious to see what the future will bring.
Where does your desire to express yourself through art come from?
I discovered my love for books and movies very early in childhood. I still remember watching Steven Spielberg’s E.T. with my parents and friends—and just two years later, being captivated by Michael Ende’s The NeverEnding Story. Born in 1973 in Frankfurt, Germany, I was eleven years old at the time and already deeply moved by the magic of storytelling.
Years later, in 2019, my first book Ich glaub, ich krieg nen Vogel was published in Germany, followed three years later by Promigeflüster Mallorca. The success I had hoped for didn’t come. But in January of last year, after working as a background actor in Mallorca—including in the Paramount+ production Lioness alongside Nicole Kidman, Morgan Freeman, Zoe Saldaña, and Laysla De Oliveira—I decided to follow a bold idea: fly to Los Angeles and pursue the dream of conquering Hollywood. Since I’m not Robert De Niro, I thought my goal might be more achievable through a screenplay of my own.
There is always a “why” in life—the moment you choose a different path. In that process of reflection, I told myself: Improve what you can improve. It’s not as complicated as it sounds. And in fact, the results of my screenplay LAMBADA: The Dance of Fate on the international festival circuit have proven me right.
Everyone on this planet knows the song La Lambada—young and old alike. It’s as universal as pizza. Yet few know the real story: the song originated in Bolivia, written in 1981 by two brothers from the group Los Kjarkas. Years later, two French producers discovered the melody via a radio station in Porto Seguro, Brazil, and falsely registered it under another name in Paris—a clear act of copyright infringement. Still, by blending Brazilian rhythms with European flair, they achieved global success in 1989. Tragically, in 2017, the lead singer of Kaoma was found burned to death in her car.
In my screenplay, the story begins with that haunting image: flames rising from a car at dawn—a symbolic moment that sets the tone for a story where music, fate, and betrayal intertwine.
What are your goals as an artist?
In my life, I’ve had to reinvent myself time and again—and that’s what keeps creativity alive. The most beautiful moments come when your creativity is recognized by others, even those who don’t know you personally. I’ve just experienced that with my screenplay.
This journey has led me to receive the Film Emmy Awards 2025, the Independent Golden Globe, the Independent Oscar Awards, and the Cinematic Tony Awards of Broadway. In total, I’ve earned more than 70 awards and selections across 16 countries on five continents, including honors for Best Biographical Script and Best International Screenwriter.
As storytellers, we hold a rare gift—the ability to reach people across borders, languages, and beliefs. My goal is to leave a footprint on this planet, one that inspires others to walk with me for a time—and eventually, to forge new paths of their own.
What is your opinion on the cultural industry?
I see the cultural industry as something powerful and deeply inspiring. For me, it’s not just about entertainment—it’s about creating spaces where art, stories, and ideas connect people across cultures and experiences. I admire its potential to spark emotion, open minds, and foster positive change.
Yes, it can sometimes be caught between creativity and commercialism—but the real magic happens when authenticity shines through, when art speaks directly to the soul.
Do you think independent artists today have enough opportunities to share their creativity?
I believe independent artists today have more opportunities than ever before—even if the road remains challenging. What inspires me most is the rise of platforms that amplify voices outside the mainstream.
Wild Filmmaker is one of those pioneers—a beacon for artists who want to express their vision freely and connect with audiences that seek originality. Similarly, FilmFreeway, which connects creators with over 12,000 film festivals worldwide, continues to open new doors for global talent.
Yes, independent artists must still fight harder to be heard. But platforms like these are living proof that genuine creative freedom and deep human connection are not only possible—they’re thriving.
What new project are you currently working on?
Right now, I’m in Los Angeles, continuing my journey with LAMBADA: The Dance of Fate, presenting it at the heart of the Hollywood film industry. With more than 70 awards and selections across five continents, I feel it’s time to pause and express deep gratitude to Wild Filmmaker and FilmFreeway—platforms through which my work has gained recognition and found its audience.
I now sense that I’m entering the second phase of my creative odyssey—a journey that evolves with every step I take.
Along this path, The Hollywood Reporter listed my screenplay as Best International Biographical Script at the 2025 Cannes Film Festival. At the same time, Bold Journey named me one of Los Angeles’ hidden gems. These aren’t just accolades—they are signs. Signs that a new chapter is beginning—one that rises from everything that came before, and leads toward unseen horizons, where fate and creation may once again meet.
Where does your desire to express yourself through art come from?
I wrote my first poems at the age of eight. For me, it has always been about magnifying the beautiful—capturing the transcendence of a thought that longs to be universal. It’s a whole set of correspondences—sounds, colors, emotions—that take form through the many expressions of my art: painting, writing, and mediumship. Mediumship, in fact, is the foundation of all my inspiration.
What are your goals as an artist?
To seize eternity in mid-flight—within a single breath of inspiration—so that elusive beauty can come to life through my fingers and the act of creation.
What is your opinion on the cultural industry?
Not much! For me, God is the source of all life, and even more so, of all artistic beauty. The cultural industry should serve to awaken humanity—to guide it toward self-transcendence. It is in our very nature as human beings to enter into communion with the infinite, to embrace the marvelous.
Do you think independent artists today have enough opportunities to share their creativity?
Not enough—outside of social networks or platforms like Wild Filmmaker, which do offer valuable space for expression. I publish my books and exhibit my paintings, which allows me to showcase the full range of my artistic talents. But in cinema, it’s more difficult. My international screenplay “The Priory of Sion and the Treasure of Rennes-le-Château” has won 260 awards, yet I still haven’t found a producer.
What new project are you currently working on?
I’ve just completed my eighth book—“The Book of Wonders”—a poetic, esoteric, and historical work that will be published at the end of September by Book Envol Editions. I’m also revisiting my fiction screenplay “The New Triumph of Camille Claudel”, published by Edilivre Editions. It explores a reimagined chapter in Claudel’s life, focusing on a new passion—with a man other than Rodin.
-Where does your desire to express yourself through art come from?
Ever since childhood I’ve always struggled with expressing myself in a cohesive way, and that’s because I don’t always know or understand what I want to express through words. Then when I started writing my own stories, whether it was screenplays or fairy tales, I noticed that it was much more natural for me to express myself through creativity. It also made me feel more at ease with expressing my feelings. I’m the kind of person who scripts what I’m going to say before I do it, but then when the time comes I can’t, because I think of a billion other things that I want to say, and that results in me getting tongue-tied. I guess that in essence my desire to express myself through art stems from not knowing how to do it in everyday situations, and because not doing it through art is terrifying for me.
-What are your goals as an artist?
My goal as an artist is to be able to get people to know me through my work, but most importantly to tell deeply personal stories that will touch a nerve in one way or another. I always hope that through creative work I can tell some kind of universal truth. Only time and an audience’s response will tell if I succeed in doing that or not. Doesn’t matter what the genre is. I want to express myself in a wide variety of genres – especially in horror, action, drama, comedy and thriller, and I truly hope that I will get to do that.
-What is your opinion on the cultural industry?
My opinion is that right now the cultural industry is too divided. I think that not nearly enough independent artists get the chance to prove themselves to a worldwide audience. There are so many out there doing amazing work, but it goes largely unnoticed, which is an enormous shame. If we want to experience something new and exciting, then we have to start being a lot more inclusive and welcoming.
-Do you think independent artists today have enough opportunities to share their creativity?
While I do think that social media is a great way to connect with other artists, and Youtube is great in getting your work seen, it’s still not enough. Film festivals are good as well, but the problem is that they cost a lot, even with invitations and discounts. So all in all, I do think that independent artists have some opportunities to share their work, but not nearly enough.
-What new project are you currently working on?
I’m currently writing a feature length screenplay. It’s a romantic horror drama about a German woman who travels to Helsinki to meet a man who she has texted and FaceTimed with for some time, but never met physically. Without going into too many details, let’s just say that she gets a lot more than she bargained for. I started writing it in mid December, and the goal was to have a first draft in February, but because of a myriad of different reasons it didn’t happen. However, lately it’s been going very well, and I’m excited about it. It has been going in directions I never expected, and it keeps developing and, honestly, I don’t know how it will end, but I am very anxious to find out.
-Where does your desire to express yourself through art come from?
I believe that art has the power to reveal the existence of another world—something not entirely tangible. It could partly be described as “the world of ideas,” but it’s more than that. Art can give color to an emotion, a scent, a feeling. Art is word, image, music… and so much more. I believe the world of art is a parallel world—and that world can be much more interesting and truthful than the real one.
-What are your goals as an artist?
First of all, to keep evolving creatively. I’d like to find a meeting point between creating dreamlike, surreal, highly symbolic stories and, at the same time, being accessible and understandable to everyone.
-What is your opinion on the cultural industry?
I believe it’s a complex topic. What I see is growing confusion around the concept of culture. Very often, works are labeled as “art” when calling them that feels almost like a sacrilege. The same goes for certain authors. That said, I do believe that the voice of culture—the true voice—will always find a way to express itself and be recognized.
-Do you think independent artists today have enough opportunities to share their creativity?
It depends. I believe the first goal should be to find a universal definition of what independent cinema really is. Many people think indie film simply means low-budget film. But to me, that’s not entirely true. For me, independent cinema is cinema “without masters”—or at least, cinema where the author can make choices that remain true to their own artistic vision. That said, I do think independent artists have more and more opportunities nowadays. But there’s still a lot of work to be done!
-What new project are you currently working on?
Production has begun on my third film. It will conclude the “Trilogy of the Subconscious,” which began with Santa Guerra and continued with Katabasis. I believe it’s my most violent and spiritual film. It also speaks about eternal love: two dome bound by a love that is both maternal and sexual.
-Where does your desire to express yourself through art come from?
It comes from a hunger to touch what feels eternal. Since I can remember, I’ve been drawn to the spaces between stories—the silences, the forgotten truths, the moments that feel older than history itself. Art, for me, is a way to bring those hidden threads into the light, to give form to what’s always been there, waiting. I create because I believe certain truths are not invented—they are remembered.
-What are your goals as an artist?
To produce something that lingers like a dream you can’t quite shake. I want to awaken wonder, stir the soul, and spark a conversation about balance—for example, what changes when the feminine is no longer hidden, but honored. My goal is not just to entertain, but to leave something eternal behind.
-What is your opinion on the cultural industry?
It moves in waves—always chasing the next flash of light. But I’m drawn to the deep currents, the truths that don’t fade with the news cycle. Trends are loud. Truth is patient. And when truth arrives, it changes everything.
–Do you think independent artists today have enough opportunities to share their creativity? We have more tools than ever—cameras in our pockets, audiences a click away. But opportunity is not the same as permission. No one will hand you the stage. You have to step onto it, even if the lights aren’t ready for you. Be bold.
-What new project are you currently working on?
Asherah: A Love Odyssey is my most ambitious work yet—a mythic romance where love isn’t just an emotion, it’s the engine of creation itself. It’sthe first on-screen telling of this ancient figure’s story — a domestically producedfeature-length pilot, the first chapter in a 6-part story — filmed in four American cities whose beauty and history rival the story itself.
At its heart is one woman who carries the world in her womb, a figure who must walk between myth and reality to restore what was lost. Her mission? To save the world.
The story moves from sacred altars to infinite horizons, blending intimate human moments with visions that feel timeless and otherworldly. It’s about origins, destiny, and the hidden threads that connect us all—and it asks the audience to consider: what if the missing piece in humanity was never missing at all?
This is more than a film. It’s an invitation to remember.
