The cinematic language presupposes a hegemonic dialect, in where it is subjected to violence. That violence derives from the politics of aesthetics which seduced the cinematic image into co-dependence, as one sought sanctuary into the other. The representational identification of cinema set the image as a melancholic dream of its own language. Nevertheless, in the process of mourning the futures of film, we must search idioms of pure cinema, in where the purity lays in the image as an image.

In my practice, I construct a cinematic dialect, whose syntax allow for a symmetrical dialogue with traumatic memory, in order to reconstitute it into narrative language. Through the psychoanalytical nature of cinema, I aim to form a conjunction in where the two languages – in their radical difference – can coexist and cooperate.

My approach combines psychogeography and an essayistic imperative to document the effects of the environments of trauma on the psyche of its inhabitants. I perform my migration by re-entering displacement. Through this ritual, my migrant gaze can connect with the immediate environment. The landscape then becomes a threshold in where, singularity and collectively, the human and its habitat, can be observed.