Tell us about your latest projects presented in the Bay Area.
In my current project, I explore and shape contrasting energies that form the eroticized body, using video and photography. As a result, the viewer is taken on a subjective journey through the erotic dreamscape of the body, passing through varying streams of consciousness in pursuit of the ultimate erotic desire – the orgasm, metaphorically seen as “chasing the light.”
The video comprises several vignette videos that transcend the erotic imagination from the subconscious world of dreams into the conscious world of being. The video centers on the contradiction and paradox of the erotic experience, which brings about tension and thus finds its release through the transgression of opposing energies that clash and ignite each other into a kaleidoscope of light and color. The sounds of breathing navigate the labyrinth of the subconscious dream world, yet simultaneously, one is acutely aware of being in the present conscious world; one is lost and found, invisible and visible. The paradox of the erotic experience.
The photographic component is composed of varying stills from the film that have been manipulated and molded into submission via the subconscious and the erotic imagination, into the conscious world. Images are printed onto the surface of textured, porous paper, whereby the conscious and subconscious – the visible and the invisible – merge and enter into a state of secretion, leaving tattooed traces, or printed images, of the erotic experience.
Who inspires you when you create a work of art?
When I am in the process of creating art or filming, I often find myself deeply immersed in my own creative flow. However, before I begin, I typically listen to music and explore various artworks and films for inspiration. While working on my current project, I was listening to Björk, PJ Harvey and the slits ,as their music embodies both rawness and surrealism as well as being sexy as hell. Film wise I found myself influenced by The Innocents directed by Jack Clayton, Fellini’s 8 ½ and Antonioni’s Blow – Up. Recently, I’ve been exploring a Gothic phase, which has led me to study the works of Joel-Peter Witkin, John Everett Millais’s “Ophelia,” and the art of the German surrealist Hans Bellmer.
What is Art in 2026?
Art needs to be challenged to evolve, and the importance of technologies, such as AI, is important to its survival as we enter the second quarter of the 21st Century. However, I fear that technology may overshadow the fundamental element of all art: human consciousness and one’s subjective experience of existence.
What projects are you currently working on?
I am working on eroticism as a philosophy, in particular focusing on the spiritual element of eroticism. For example, the conscious erotic experience is absorbed into the body and connects to the unconscious components of said body, detonating a combustion that results in the orgasm. As the orgasm filters through one’s consciousness and unconscious, the soul gathers the residues of the event, such as memory and identity – the spiritual essence of a living being – and turns the experience into deep feelings of emotion. Eroticism is a cognitive conduit that channels sexual love-eros via art, into a philosophy based on lived experiences.
What’s your impression of WILD FILMMAKER, the largest community of Indie Film Producers in the world?
WILD FILMMAKER is the contemporary epitome of Neorealism, returning to the social and human roots of filmmaking. Back in the 1940s/1950s, Neo Neorealism was a film movement about making things’ real, ie, characterized by a focus on the lives of the poor and working class, a documentary-like style using real locations, non-professional actors, and a rejection of studio glamour, giving filmmaking a human face and sensitivity. WILD FILMMAKER demonstrates that everyone can be a filmmaker, whether it’s with a camera phone or a traditional camera. It opens filmmaking up to everyone, not just the elite of Hollywood and other film industry centers. Again, just like before, it takes filmmaking out of the studio and onto the streets, utilizing elements of social engagement with actors, regardless of their level of professionalism, and imbuing it with a human sensibility, where anything and everything is possible.
I recall one late summer evening in 2022, when I spoke with Michele Dioma about his idea of creating a space for all independent filmmakers. I remember his passion and unwavering commitment to bringing filmmaking back into the hands of the people, and in a short space of time, he did it. I am very proud of him and WILD FILMMAKER.
