in Transit:

Sketches of one figure | basic concepts for compositional shapes:

Triangular shapes | central figure of interest accentuating vertically | connecting shapes | framing main figure | capturing repetitive motion.

Drawing elementary figures in panels :
focussing on imagedesign | sunsets | vertical panels | perspectives, size and audio dimensions

A continious rearrangement of material, sources and content. A way of working that follows the unpredictable course of an artistic process, which allows other subjects and interests to appear, emerge out of the process.



episode two with Blennard Azizaj  2021 | 2023

DOCseries

ultrashort films  |  part of video-installation

crew  Kristel van Issum | Martin Kers | Han Stubbe
performer  Blennard Azizaj
period  2021 | 2023

exhibition  

funding

in Transit

The short film-set ‘in Transit’ portrays concept development of visual principles and content-related ideas. Searching through creating, exploring while making and editing.

Martin Kers: ‘Kristel van Issum and Blennard Azizaj were working together for a few weeks, defining the figure and material. Once in the studio to capture these results, we decided to take the process of filmmaking into unknown territory; instead of a conventional workflow (shooting, editing, composing music and creating the film, mostly in seperate studios) the aim was to work in a more collective form. The performance was shot in a greenscreen studio as well as in outdoor locations in the real world. The results of these recordings were prepared for the next phase; realtime editing and re-recording of this initial footage, processed and manipulated by external musical triggers and vj-like cut ‘n’ paste and looping techniques. This created more of an abstract atmospheric moody feel than a conventional film would normally have. The outcome of this ‘resarch’ could be separate shots, a meme, a series of sequences, photographic images’. 





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︎︎︎ fragments
︎︎︎ stereotypes main

 

(audiovisual) process

Martin Kers:

‘During discussions and rehearsals the material was developped. In the afternoons this was recorded; resulting in footage and soundrecordings. Next up was the evaluation of this footage and the preparation for the next phase in the workflow. Han Stubbe and me wanted to direct the process of film-editing towards a more collective, intuitive process. In the studio the computersystems were connected and sounds and images were processed and manipulated in real-time. The results were re-recorded and reconstructed again’.