I W a n t T o B e I n s i d e Y o u //green screen video

Experimenting with the green screen. It was just a test and I am not so happy with the results, but I found it really interested. The final idea was the second person be someone else than me, but I think that was is more inspired. Reminded me of the movie I recently saw with Natalie Portman, “Annihilation”, Alex Garland’s mind-bending sci-fi horror.


In the end of the movie the main character discovers the location that she was looking for, that a meteor landed and create the shimmer, a massive soap bubble, and finds a sort of cell-generating sac that pinches a bit of her DNA and replicates her entire physical form.

Her clone, which starts out as a metallic mannequin, mirrors her every move. She goes to punch it and it punches her right back. She runs to escape and it runs right with her, pinning her against the door with the weight of her own actions. She’s only able to end this hellish mime act by coming to terms with this shadow version of herself – and then destroying it.

It’s by this point, at the very end of the film, that Annihilation begins to look like a profound parable of self-reflection – an internal journey that explores human nature’s flawed desire to constantly expand into the unknown, when really we should be looking inwards.

source: http://www.digitalspy.com/movies/feature/a852095/netflix-annihilation-explained-ending-spoilers/

I W a n t T o B e I n s i d e Y o u // 3D animation


After the 1:1 tutorial I had with Patti Ellis, I decided to create the exact image I had in my mind thinking of the project ‘I want to be inside you’. Meaning that I wanted to make an animation with two bodies, the woman’s “penetrating” the man’s body. Knowing nothing about 3D animation I was trying to find a program.. Scrolling at my instagram I saw a post of my fellow student, Anna Clegg, that she was using a 3D animation program. I immediately asked her and that’s how I learned about blender.

I saw many tutorial videos on youtube to learn the program and be familiar with it. As I was going deeper to its abilities I was mesmerised by it. You are starting with a cube and you can create anything you like with just that. Any shape, size, movement you wish. After I played and experimented a lot inside this 3D grey world I made my two puppets. Thinking of my and my partner’s body I made two kiiiiiinda similar shapes. The shine and smooth of their texture is non human and so delightful seeing it. Their almost plastic feeling sensation reminds me of erotic emporium. The way that the woman’s body entering the man’s body in a really liquidish way made my day. When the two forms were touching each other their surface turned into fluid.






The really cool thing with blender is that you can move the lighting and the camera so it’s like making a movie. I experimented a lot with the frame as with lights and these are some of the shots I made.


In the end I decided that I wanted a collage of all the shots I made.  So this is the final piece.

A B R A M O V I C M E T H O D // reference for the ‘mirrormask’

“We live in a world of constant distraction, where taking the time to connect to ourselves is becoming more and more difficult. I have designed this experience to give the public the opportunity to be free from these distractions and to be connected with themselves, with each other, and with the present moment.” Marina Abramovic

Inside Ourselves Through the Abramovic Method


VP 1:1 tutorial with Patti Ellis

  • intimate with my own experiences
  • more abstract
  • how the viewer will connect with my experiences

  • Marc Quinn – Skin


  • Julia Kristeva – Powers of Horror

“The corpse (or cadaver: cadere, to fall), that which has irremediably come a cropper, is cesspool, and death; it upsets even more violently the one who confronts it as fragile and fallacious chance. A wound with blood and pus, or the sickly, acrid smell of sweat, of decay, does not signify death. In the presence of signified death—a flat encephalograph, for instance—I would understand, react, or accept. No, as in true theater, without makeup or masks, refuse and corpses show me what I permanently thrust aside in order to live. These body fluids, this defilement, this shit are what life withstands, hardly and with difficulty, on the part of death. There, I am at the border of my condition as a living being. My body extricates itself, as being alive, from that border. Such wastes drop so that I might live, until, from loss to loss, nothing remains in me and my entire body falls beyond the limit—cadere, cadaver. If dung signifies the other side of the border, the place where I am not and which permits me to be, the corpse, the most sickening of wastes, is a border that has encroached upon everything. It is no longer I who expel, “I” is expelled. The border has become an object. How can I be without border? That elsewhere that I imagine beyond the present, or that I hallucinate so that I might, in a present time, speak to you, conceive of you—it is now here, jetted, abjected, into “my” world. Deprived of world, therefore, I fall in a faint. In that compelling, raw, insolent thing in the morgue’s full sunlight, in that thing that no longer matches and therefore no longer signifies anything, I behold the breaking down of a world that has erased its borders: fainting away. The corpse, seen without God and outside of science, is the utmost of abjection. It is death infecting life. Abject. It is something rejected from which one does not part, from which one does not protect oneself as from an object. Imaginary uncanniness and real threat, it beckons to us and ends up engulfing us”

I W a n t T o B e I n s i d e Y o u

Visualize the feeling that I have when I am in the bed with my boyfriend. I can’t get enough of him that sometimes I want to be inside him.

This was the start of a long duration project.

I took some of his clothes and made a full body costume, like a second skin of him





the costume that I made;



the video/performance;