A return to the screen through imagined photographs, staged interiors, and AI-built image sequences edited as photographic projects.
I come to this section from a long background in film and television. Since 2002 I have worked across sound editing, picture editing, animation, title design, graphic design, and other screen-based roles. After film school I was a VJ in Tel Aviv, and later for several years in Amsterdam, building visuals for concerts and live events, performing at Lowlands and regularly at the Melkweg. In 2015 I stepped away from the computer and moved deeper into physical making. With AI, I find myself returning to digital authorship through these images.
I do not treat them as prompts displayed like trophies. I build them as picture worlds: framed, sequenced, repeated, and edited with the logic of visual storytelling. What stayed from cinema is still there in the timing, the cut, the mood, and the sense that an image should carry more than it shows.
A nocturnal sequence moving through rooms, beds, reflection, and the residue of flash.
This first body treats the room as an emotional chamber. Bodies drift in and out, windows hold distance, and the images stay suspended between documentation and staging.
Across the series, the room behaves less like a set and more like a holding structure for tension, intimacy, and emotional spill.
A motel-room narrative built from repetition, wine, static light, and staged human trace.
The same room returns across the sequence, but the emotional temperature keeps shifting. Each frame holds the same set, while the figure, the prop, and the pose push the room toward another reading.
Digital, here, is less about software than about imagining photographs that never existed, and then editing them as if they had.
