Women Cinemakers your artistic research and before leaving this conversation we want to catch this occasion to ask you to express your view on n the contemporary art scene. For more than half a century women have been discouraged from producing something ' ', however in the last decades women are finding their voices in art: how would you describe your personal experience as an unconventional artist? And what's your view on in this interdisciplinary field? I think women have always had strong voices, especially coming from a dance and movement background, such as the early Movement and Gymnastik practitioners Elsa Gindler and Anna Herrmann in the beginning of the 20th century who were standing for equality and feminist ideas within their practice in Germany where I come from, or modern dance icons such as Mary Wigman, Pina Bausch or Martha Graham. Personally, I have never been discouraged and always been able to ‘do my thing’. However, I think in our current political and socio-economic environment, art in general is discouraged and under attack with less and less space and financial support been given. Networking and collaborating seems to me key for any art form now, to not lose ground and to build greater acknowledgment. I would hope that the arts, for example in schools instead of being cut, are going to be recognized more, since it is creative skills, the ability to look outside the box which will help to solve many problems that society and the earth as a whole will be facing in the future. interview
Thanks a lot for your time and for sharing your thoughts, Heike. Finally, would you like to tell us readers something about your future projects? How do you see your work evolving? I like to continue collaborating with the inspiring artists that I have strong relationships with and plan new expeditions to places that I have never been. It is rewarding to be able to sophisticate a shared practice which has grown over years and is based on common understanding and aesthetic vocabulary. Furthermore, I am about to collaborate with an artist I have not worked with before. We each will make a piece with the other as the dancer. I am looking forward learning about somebody else’s screendance making practice from an experiential perspective. I am also interested to explore technology further, recently we have worked with a drone which was very interesting as choreographic parameters completely change. Equally, as attractive high-tech filming with a drone was, I am interested in exploring spontaneous ways of capturing material, by for example using small gadgets such as a steady cam for my iphone and see how technological possibilities can offer new ways of ‘dancing with the camera’. An interview by Francis L. Quettier and Dora S. Tennant [email protected] Women Cinemakers
Photo: Ingi Jensson Heike Salzer & Ingi Jensson, Hellisheidi, Iceland 2014
Hello Pauline and welcome to : we would like to introduce you to our readers with a couple of questions regardAn interview by Francis L. Quettier and Dora S. Tennant [email protected] ing your background. You have a solid formal training and you graduated from the prestigious , in Paris: how did this experience influence your evolution as an artist? In particular, how does your direct the trajectory of your Pauline Pastry Women Cinemakers meets Lives and works in Angouleme, France Pauline Pastry is a French artiste living and working in Paris. Her work is between documentary and experimental, and questions the place of the contemporary working class. She uses mainly photography, video and recently started sculpture. She graduated from l'EnsAD in June 2017. Since several years, I have been interested in the industrial environment and in particular in the evolution of the work of the contemporary worker. I mainly use distant and technical imagery, which can make one think of commercial brochures used by companies as a means of communication. I connect this imagery with the technical vocabulary of the industry and with the body of the worker who tends to industrialize and optimize him too. Notions of gesture and choreography are present in my work, I use video for its handy character, it allows a reactivation of the gesture. Whether in my photographs or my videos, I combine the organic with the mechanic, without putting aside the social character in my work.
artistic research? Hi WomenCinemakers and thank you for inviting me. I started with a BTS in photography at Auguste Renoir high school, in Paris. It is a technical certification which taught me solid skills in photography and gave me the will to enlarge my practice in video making, and sculpture. It's mainly while I was studying at ENSAD that I could go deeper into video work. A teaching crew was guiding us through with advices and personal thoughts about our practice during the whole program. We also had theoretical courses which allowed us to develop a critical eye on what we were doing and what we were studying. Thanks to this school I got a wider and stronger artistic knowledge. For four years, we were inquired to make some long-term personal works, which lead us to build our own thoughts so as not to rush ourselves. There, I chose to go more in depth into video. I's during my graduation year that I put traditional photography to the side to orientate myself more into the body language and the industrial area. I wanted to escape classical photography and not be related to it anymore. I did not want to be seen as a photographer. I started to do sculpture after my graduation in 2017. I wanted to give another materiality to my work and consider it differently. I wanted to see objects, shapes, and work with my own hands. I began two sculpture series that are still in progress, and . is a series of three sculptures that I conceived in 3 dimensions from industrial curves/charts/technical drawings found in magazines. Theses drawings represent the evolving states of materials depending on the temperature or pressure that they are exposed to. It's more for me a way to morph the change or the attrition of a material, leading me to which means We could say that my work declines into itself through different aspects (video, photography, editing, sculpture) towards a same subject. For this special edition of we have selected , an extremely interesting video that our readers have already started to get to know in Women Cinemakers
Women Cinemakers the introductory pages of this article and that can be viewed at . What has at once captured our attention of your brilliant storytelling is the way it provides the viewers with such an intense visual experience, by a sapient composition. While walking our readers through the genesis of , would you tell us how did you develop the initial idea? My interest in the industrial area started through photography in 2011. The more I would go into this path, the more I wanted to approach the worker’s condition without going to the documentary aspect. The body naturally came into my work. Also, because I practiced ballet for many years and have always been interested in dance since then. Before I had already made a video mixing dance and factories. It was a first draft that I wanted to follow for my graduation. I really wanted to enlighten the worker’s body and the way it is conflicted by working conditions, such as multitasking. Obviously, Modern Times from Chaplin was at the back of my head, mechanical gestures, working routine, Fordism, work at the chain etc.… But I also wanted to approach new technologies and the cohabitation between the bodies and the engines, which are more and more present and have the tendency to mimic and replace the worker’s gestures. This is where the title of the piece came from, that I explained earlier on. It is a way to give importance to the body attrition as would be a material or manufactured object. It is at first a technical term, I found some poetry in it. This title is evoking. Most of my titles come from old factory magazines. The willing to go deeper into video making was also supported by the writing of my thesis, , in which I approach the perception of gestures through video. I think that video has some kind of behavior that has the power to « reactivate » the movement of the body. I had also made my researches on Pollock, Jean Rouch, and Yvonne Rainer’s work, where the body operating is really present.
I wanted to show industrial moves, or these two dances (my dad’s and the robot’s one) as performances. Collaborating with a modern orthopedics school also made clearer my intention to work with the body. There is, to my opinion, in orthopedics, this same vision of a utilitarian and technological body. It is made to support or replace a missing or damaged body part. This will of optimization of the body is also a kind of performance.
This collaboration allowed me to link prostheses, orthotics, with robots and exoskeletons. Even in the design (aesthetics, and shapes), I found some resemblance to the mechanisms, they both aim at humanity in some way. It was also interesting to work with students that perceive the body on a scientific and technical side. I built with them my first torso in overalls as a worker effigy. As we can see in my book , I then chose to destroy this resin torso.
Women Cinemakers Featuring such stimulating enriched with references to the real design process, balances captivating storytelling and refined editing: how did you structure the editing process in order to achieve such brilliant results on the narrative aspect? I had already recorded and collected a lot of industrial pictures for a few years. I edited them and recorded new images. I got into contact with a factory in Nantes which sells some exoskeletons, robots and cobots. I had the chance to sit in factory meetings that were working on exoskeletons conception, by following the marketing agent. It is from a dialogue recorded during one of these meetings that I built the narrative line of my movie. Thanks to this dialogue, I could clarify my purposes and intentions. I was looking for a representative and universal conversation in industry and modernday factories. Then I worked on sound and dialogues to make a logical following. I kept the parts dealing with investments, time and movements and I put my images together according to these conversations but also according to the track that I built myself. I wanted three screens interacting with each other. I already had an idea of the industrial area at this time, I read some books, articles and magazines but
Women Cinemakers this meeting really focused on all the elements that I needed to elaborate the bases of my video. We appreciated the way you combined images from the digital realm as the screenshots from computer aided applications and footage marked out with such a surreal quality: in this sense, we dare say that seems to walk the viewers to the point of convergence between reality and imagination: how much important is for you in order to address them to elaborate ? I found this as a way to go out from the classical documentary narration. I wanted to make my own fiction, my own vision of this subject with fake or staged images. I simplified explanations, it is almost a synthesized and analytical movie. For example, to understand that I scanned my father in order to get a 3D material, I put some red lasers on him as if it was actually the process that I used. I actually used several techniques to scan him. I created images to simplify the path to the
Women Cinemakers viewer’s mind, so it could click more easily and go faster to the purpose of my research. Due to the different types of images and their many origins, the interpretation stays open and variates through the viewer’s background according to the way he/she perceives the images. The different possibilities to approach technologies, robots and industries are fascinating to me. We all have an idea from what we see from movies or television. It's important to remark that was also inspired by your father's experience as a worker, that you have sapiently interpreted, capturing both the banalization of robotization and the of vulnerability of the body in contemporary chains: how important was it for you to make , about a theme that you know a lot about? And how did your personal experience as an interpreter of your father's daily one's fueled your creative process? It is, a really personal movie, I start from something which is close to me then move away from it to widen my subject. I see the factory as a micro society. It is always evolving, and it is the first in line concerned with society changes. I take this microcosm as an image of our society. I have always been skeptical towards the status of the labor in daily life and how the human body becomes a strength as a human capital. I don’t know if I agree with the working area as it is now, I know that there are some problematic elements that will cause trouble in a few years and there is also an issue with unemployment. I come from a worker and farmer’s family, so I have been raised into an engaged environment, I have, of course, been influenced by my family’s experience. Industry is a real target into movie making. I think of movies that I loved such as from Lars von Trier, or from Laurent Cantet, from Pedro Pinho. These three movies are really different from each other but what I liked about them is how the workers are involved in their job. For , I wanted a poetical movie from the structure to the image aesthetics. I wanted unexpected elements such as my father’s dance or the robot’s one, while still keep-
A still from
Women Cinemakers ing the documentary look of the film. It was my way to highlight my sensibility to the worker’s body and its social condition. I learnt and saw the state of the industrial area. I don’t make things up, I just create my own interpretation through books, conversations or movies. I also looked over some factory reports and the magazine called . Then, it has been a lot of talking with my father. He has been the first model in my photography and in video works, it was difficult at the beginning, bashfulness I guess. The camera is always scary, we always want to show ourselves from the best angle while I was looking for sincerity and authenticity. It took a while for him to understand and accept what I wanted to say about the industrial area. He really understood while he saw the actual movie. I made an edition relating to my movie called . It is an object that brings together the creative process of but also some private conversations with my dad and I. We find in this book some web, archives pictures, and some that my dad shot himself, portraits, mails and text messages. It is like a sketchbook that I split in five different parts leading to the construction of a working body. I start from the fact that the factory was a furnace for working bodies, mechanical bodies. We have really appreciated the way engages the viewers to question Mexican artist Gabriel Orozco once remarked that " ": as an artist particularly concerned with the industrial environment and with the social conditions of contemporary workers, how do you consider the role of artists in order to raise awareness about social issues in our unstable and globalized contemporary age? In particular, does your artistic research respond to ? I think the engagement in an artistic work must be overriding even if it is transparent or unconscious. There are no less important sub-
Women Cinemakers jects than others to me, we just need to feel how the artist is involved and sensible about his/her work. We have the chance to be able to express our vision of the world as we see it freely and with different manners, no road to stick on, we still have this freedom. The subject that I deal with in my work is really actual, it deals with the erasing of the worker’s human body to the robotized one. Technology is our daily topic, I feel that my generation is sensitive to it in a way or another. I wanted the format to fit the content of the subject. I am fascinated but also a bit scared by technology, but if we could have a robot that could replace us to go work for us, I would not be against it. It would be a good way to enjoy our hobbies but moreover to live and work for ourselves. But it is quite a utopic vision. Not to mention that these days almost everything, from Maurizio Cattelan's ' to Marta Minujín's ' ', could be considered : do you think that your artistic practice could be considered , in a certain sense? In particular, do you think that your being a woman provides your artistic research with some ? I wondered my vision as a woman changed the view I had on the industrial area. I have been asked this question many times and I think I am well-grounded to be concerned through my familial context. I had some readings that comfort me in these thoughts, women that have been involved in workers labor or factories, such as Simone Veil or Leslie Kaplan. I think it helped me to be a woman in a mostly male environment. The workers that I met were less suspicious, I could quickly establish relationships and explain to them what kind of information I was looking for. Of course, I had some remarks, but it was never serious. Now when I come back to my father’s factory they tell me « You again! You’re working here right? ». The workers helped me quite a lot for my last sculptures. They are maybe more sensitive to what I do since they are understanding more my intentions. Marked out with qualities, sound plays a crucial role in
Women Cinemakers , providing its footage with such an capable of challenging the viewers' perceptual categories: why did you decided to include such audio commentary? And how would you consider ? As you said, sound plays a major part in my work, it must come from my ballet practice. I have trouble to discern what I hear from what I see. The musical parts of my movie bring some kind of dynamics that I was looking for in the gestures, they come at very specific moments. The music has been made by Jules Cassignol, a musician that I appreciate the work of very well, he understood straight away what I was looking for. Nowadays, we have a really oldish vision of French factories. I have the feeling that our generation is not as involved into the worker’s condition as it used to be. It is fair because it is so far from us now. The youth coming from a modest background used to go work in factories, it is less common now. The sound base of the movie was made from captations in the factories, or noise made from my own body and objects. I wanted to mix mechanic and organic together, these are essential terms in the movie, since I am dealing with a body always in pro-
cess, that must be more and more effective and technological, I had to give this feeling through sound. I really looked for the immersion of the viewer into this environment from the interpretation that I had from this experience. We have appreciated the originality of your artistic research and before leaving this conversation we want to catch this occasion to ask you to express your view on the future of women in contemporary art scene. For more than half a century woman have been discouraged from producing something ' ', however in the last decades there are signs that something is changing. How would you describe your personal experience as an unconventional artist? And what's your view on the future of women in this interdisciplinary field? I don’t know if I am or not conventional, I just want to stick to my thoughts. I did not want to do something to please people, or do something beautiful, at least it is not my first goal. I think that we should do something that moves us, be true to the viewer and they will feel it, as a woman or not. I think that there are more and more women artists that assume their work, and Women Cinemakers
more and more institutions, festivals dedicated or open to women and I think that this is really positive. I am quite optimistic concerning women in art in the future. We are lucky to be in an openminded and sensible area in a lot of things. My work is quite masculine. All my models are men, I did not start with the easiest way, but I did not feel uncomfortable about it either. So yes, I had some thoughs because I am a young woman, but I think it comes more from the audience. I am often asked why I have so much interest in the industrial area. We just need to believe in what we do and impose ourselves. Thanks a lot for your time and for sharing your thoughts, Pauline. Finally, would you like to tell us readers something about your future projects? How do you see your work evolving? I am currently working on my new movie called « Opus ». It will be a 20-minute-long video installation on three screens. This will be a dance video between fiction, documentary and performance. Women Cinemakers
The movie’s speech is: « Three employees from a foundry end up in a lost stone-pit in the Charente region. Marked by their work, they recall themselves the routine moves that they used to do on a daily basis ». On the side of this I just made my first solo exhibition at the in)(between gallery, in the 3rd arrondissement of Paris. My movie was projected there and so were my last sculptures ( and ) and some photographies ( ). Once my movie is done, I want to focus back on photography for a bit. I feel that this medium starts to miss in my practice, then I am going to continue working on my sculptures, I already made some sketches: cf 3D pictures. I am also thinking about new ways to show my movie and photographies. Focus more on the setting, how my sculptures and movies can interweave more between one another. An interview by Francis L. Quettier and Dora S. Tennant [email protected] Women Cinemakers
Hello Dascha and welcome to : we would like to introduce you to our readers with a couple of questions regarding your background. You began your artistic career as self taught painter: you later studied Sculpture at the University College of Arts Crafts and An interview by Francis L. Quettier and Dora S. Tennant [email protected] Design and then you nurtured your education in the field of Stage Design at The University College of Film, Radio, Television and Theatre, and you later had the chance to attend further courses: how did these experiences influence your evolution as a multidisciplinary artist? Moreover, how does your cultural substratum direct the trajectory of your artistic research? To me, art is a tool for managing and understanding life. Dascha Esselius Women Cinemakers meets Lives and works in Stockholm, Sweden I am a multidisciplinary artist. My artwork consists of films, photographs, paintings, sculptures, public art and video installations, the last of which are almost immaterial, created by ever changing projections on layers of thin transparent veils all around the spectators. My first film, which was in 16 mm and commissioned by Swedish Television in 1984, was based on the first of these cinematic installations, at that time created with animated feeds of slide projections of handmade images. I strongly believe in the visual language which moves me and is the starting point of all my cinematic creations. I see my films as paintings or sculptures build with compound time flows of colour, shape, light and sound. They are not, therefore, narrative stories in the traditional sense. I want the audience to open their minds and regard the films as projection screens for their own inner worlds or as stimulants to emerge their own stories. I use the ambiguity of perception to fill the objective reality with parallel meanings in the field of tension between the fantastic and the realistic documentary. In my work I often refer to different art historical periods. It’s my way of saying hi to the artists who have acted before me
Women Cinemakers The advancement in the various artistic techniques and the use of them is directly linked to my life circumstances. It`s doubtful if I had become a visual artist if my life had developed differently. It`s more likely that I had become an actor. As a child I danced classical ballet, was a member of a children's theatre group and was a child actor in movies. These experiences still affect my artistry. In particular, the different scenographic environments in the film studios in Prague, in which we children played during the long breaks between takes. It was as a member of youth theatre group I managed to leave Czechoslovakia, one year after the Soviet invasion of the country in 1968. When the group traveled to a youth theater gathering in France, I took advantage of the opportunity to escape and I did not return to Czechoslovakia. Fifteen years old I ended up in Sweden as an unaccompanied refugee child and was taken care of by the child welfare committee. One of the relatives of the manager in the youth home where I had been placed had just died. He had been an amateur painter and I inherited his paint box, pile and brushes. This gift had arrived at the right time. I had a lot of emotional turmoil to process and lacked verbal language to convey those emotions. That's how I became a self-taught painter. This, my new career that I initially pursued besides my high school studies under a pseudonym , developed surprisingly well. Before I had reached the age of 23, I had been represented at the National Museum and in the Swedish state collections. I also had a separate morning chronicle program in the Swedish Radio P1. But in 1976, due to an accident, my studio burned down and everything was gone. I took it as an omen. I left my pseudonym and the related career behind me. From that point on, I used my real name Dagmar Jerabkova. I also wanted to change the direction of my life. What would I do instead? I had published a poem collection and I had written a short story that had been published in several reputable literary magazines. Should I become a writer? No! It was far too painful to write. I decided to study sculpture. It felt handy and stable and slightly more fireproof. Ha, ha. The first course I registered for at
Women Cinemakers was welding. Working with open fire, like gas welding, made me so scared that my hands shook so much that the iron parts that I tried to weld together beat against each other. That gave rise to a metallic sound, which caught my interest. I started welding mobile sculptures that, through their movement, induced different sounds. I created an entire mobile sculpture orchestra whose movements I ruled through a program mechanism that I had mounted out of a washing machine. In parallel, I became interested in the task of how little material that was necessary for creating figurative sculptures without loosing shape, volume, balance and proportion. The sculptures, which I welded with round bars, reminded of computer graphics that was also a new phenomenon at that time. Depending on how these sculptures were illuminated, they gave rise to different shadow formations. To explore the shadows, I used the sculptures as actors in a mechanical shadow play theatre. I graduated 1983. We were 20 students who were assigned the space for the final exams exhibition in the school's 1000 sqm garage which was currently empty. As time went by, one by one, my fellow exhibitors disappeared. All of them were afraid that their works of art would not be exposed properly in such an odd place. Without my knowledge, everyone had gotten a new showroom in the main building. Suddenly I stood in the garage alone. When I had recovered from the shock, I had to figure out how I could fill such a big space. The solution was to work with moving light in relation to my sculptures. At that time there were no courses in lighting at but I have snapped up one thing and the other by observing light designers when they worked in the film studios in Barrandov. I also recalled in Prague which was the world's first multimedia theatre combining film projections with stage performances and that used UV-light in their stage sessions. I picked up four Kodak carousel projectors from the school's media store and I filled their magazines with a total of 324 images that I made directly in the slide frames. I went to the
store and begged for pieces of discarded theatre veils which I mounted on welded sculptural shapes and in that way turned them into artistically designed projection screens which I projected the handmade slides on. I hung up the screens everywhere in the garage so that the constantly changing light projections filled the entire space. I created two mechanical
shadow plays with my figurative sculptures and I added the mechanical sculpture orchestra. Because at that time no personal computers existed I controlled all this consistently through a program mechanism from a washing machine. I let the audience become part of the artwork by moving freely in the space. I gave the installation the name s
Women Cinemakers which was a form of invoke that has proven to work. Even today, I continue to further develop this art form. The installation was a big success. No one had seen anything like that before. I have to say, that neither had I. One of the visitors was a professor at and he offered me a spot as a special student at the scenography department. That's how I ended up there. By participating in the education, I became more aware of where I was pursuing my artistry and that it was not stage design based on a manuscript. What I sought was to create some kind of ever changing virtual reality environments that the audience influenced with their own presence just as the living world changes in line with our actions. I was invited to participate in a cultural program in TV2. But I did not want to sit in a TV studio and describe my art as an additional talking head. I wanted the art, which I mean possesses a visual language, to speak for itself. So I got 16mm film, a cameraman, an audio recording guy and a movie editor at my disposal to create a movie with the art as an actor. The film , signed with my maiden name , can be watched at https://www.youtube.com/watch?v=aVWlvomHnk. This, as my first film, lays the foundation for my pursuit to create movies that are not based on storytelling but mediates artistic experience in itself. Initially, I created films in collaboration with , who I married in 1993 when I also changed my name to . Since I have become tired of appearing under different names, I have retained the name even after the divorce that came into force in 2003. You are a versatile artist and your pratice is marked out with such stimulating feature, that allows you to range from Installation, land Art, Photography and Painting, to Video, Computer Graphics and Sculpture: before starting to elaborate about your artistic production, we would invite to our readers to visit in order to get a synoptic idea about your artistic production: would you tell us what does address you to such captivating approach? How do you select a medium in order to explore a particular theme? It's curiosity that drives me. I am a restless person who easily gets bored. It amuses me to turn my eye and look at the world from different angels than the usual ones and allow myself to marvel as if I was a newborn child without any previous
Women Cinemakers knowledge. Actually, I do not change topics very often. I only process them from different input angles. When it comes to the realization of the work the function determines the matter. The medium chooses itself based on practical needs. I'm just thinking about what works best at the given moment, how a mission can be performed in the best way, a task explored. The answers come to me in the form of practical solutions and those are the ones that guide me. Each project grows new branches just by working on it. However, these new branches can wait a long time, sometimes for years before they are realized and that also has practical excuses. Some project ideas are so big and costly that they cannot even be tested without receiving an order and a financier. Others must wait for the technology to catch up. Plenty, already started projects have to wait until I get a time slot. My artistry moves in elliptical lanes that overlap and cross-fertilize each other. The body of works that we have selected for this special edition of has at once captured our attention for the way your practice deviates from traditional video art form to pursue a sensorial richness rare in contemporary scene. In particular, we would start from , a stimulating video that our readers have already started to get to know in the introductory pages of this article and that can be viewed at . Taken in one shot on the helicopter apron on the icebreaker Oden on her way to Wrangel Island in the Artic Ocean, this work challenges the viewers' perceptual parameters, inviting them to a multilayered experience when walking our readers through of , would you tell us how did you develop the initial idea? The film was shot in 2005 during the polar research journey to Greenland, Alaska, Chukotka and Wrangle Island arranged by the , which is part of the . I was invited to accompany the expedition as a researcher. Both the Artic and the Antarctic are connected to myths about strong adventurous men defeating nature and discovering new continents. It was therefore important to me to stand free from these heroic and colonial visions and find out my own approach to the subject. I asked myself a question: what happens to a person while passing through time zones and travelling to unknown places, which few have visited? What sort of mark does it leave on the surface of the inner self and how can this be expressed?
Women Cinemakers My point of departure was in the reality I met, but the places we visited were so odd and at the same time so familiar in an archetypal way, that after a time it was hard to decide what the inner and what the outer reality was. A science fiction feeling took over and grew stronger and stronger inside me, as if we were travelling not with an icebreaker but with a spaceship to the beginning of time. The rapidity of the weather changes with the shifting light and the moving mists and fogs sweeping over the landscape, hiding and uncovering details and displacing perspective reminded me of my video installations. It was as if my inner world suddenly became the real one and surrounded me. I realised that I have travelled to the Arctic to see my inner visions, my daydreams and my nightmares materialised. And there I was. My camera began to shoot my inner worlds. My fellow travellers, the researchers and the crew were so used to watching me walk around and shoot and photograph that no one cared. One day when I passed the helicopter apron on the icebreaker, I noticed two of my fellow travellers being deeply involved in a discussion. Their movements were markedly synchronized, as it usually happens to people who are in agreement. I sat down nearby, fixed the camera between my knees and began to watch them through the mirror filter in my camera, which reinforced the synchronized impression of their movements and merged their bodies into one. In the eyepiece, they became one form which during its multiple transformations reminded me of a multi-armed Hindu god which emerged from and disappeared in a horizontal line. That gave me an idea of a synopsis. I tried out different shooting angles to figure out how to keep the camera to achieve the desirable result. Then I pulled a deep breath and I captured the movie in a state of full concentration. It was important to keep the camera very still, but at the same time constantly change the shooting angles to create new imaginaries, which must happen almost unnoticed. I had to synchronize myself, and my camera, with the movements of the researchers as well as the boat. In the state of flow I was in, my body knew exactly how. Of course, my previous studies of movement coordination and anatomy have been helpful in this task. The researchers, the main characters of the film, watched the movie that very night in the icebreaker's cinema. I have to admit that I was nervous about how they would take the humorous side of the movie. Could they possibly feel offended? No! They were amused. We have highly appreciated the way explores , and we dare say that it seems to