Inne Feenstra

We as humans have different emotional bonds with trees, from symbols of the tree of life to tree huggers. For this reason, it moves us when a tree falls. 'Fallen' is a video installation that captures the dramatic fall of a tree in a neutral way. Almost never is someone an eyewitness when a tree falls in a natural way. It's a brief and radical moment of transience. The sudden speed of the action is in stark contrast to the slow existence of the tree. The video work is presented in a kinetic installation where the projection screen slowly moves back and forth.

We as humans have different emotional bonds with trees, from symbols of the tree of life to tree huggers. For this reason, it moves us when a tree falls. 'Fallen' is a video installation that captures the dramatic fall of a tree in a neutral way. Almost never is someone an eyewitness when a tree falls in a natural way. It's a brief and radical moment of transience. The sudden speed of the action is in stark contrast to the slow existence of the tree. The video work is presented in a kinetic installation where the projection screen slowly moves back and forth.

We as humans have different emotional bonds with trees, from symbols of the tree of life to tree huggers. For this reason, it moves us when a tree falls. 'Fallen' is a video installation that captures the dramatic fall of a tree in a neutral way. Almost never is someone an eyewitness when a tree falls in a natural way. It's a brief and radical moment of transience. The sudden speed of the action is in stark contrast to the slow existence of the tree. The video work is presented in a kinetic installation where the projection screen slowly moves back and forth.

We as humans have different emotional bonds with trees, from symbols of the tree of life to tree huggers. For this reason, it moves us when a tree falls. 'Fallen' is a video installation that captures the dramatic fall of a tree in a neutral way. Almost never is someone an eyewitness when a tree falls in a natural way. It's a brief and radical moment of transience. The sudden speed of the action is in stark contrast to the slow existence of the tree. The video work is presented in a kinetic installation where the projection screen slowly moves back and forth.

We as humans have different emotional bonds with trees, from symbols of the tree of life to tree huggers. For this reason, it moves us when a tree falls. 'Fallen' is a video installation that captures the dramatic fall of a tree in a neutral way. Almost never is someone an eyewitness when a tree falls in a natural way. It's a brief and radical moment of transience. The sudden speed of the action is in stark contrast to the slow existence of the tree. The video work is presented in a kinetic installation where the projection screen slowly moves back and forth.

We as humans have different emotional bonds with trees, from symbols of the tree of life to tree huggers. For this reason, it moves us when a tree falls. 'Fallen' is a video installation that captures the dramatic fall of a tree in a neutral way. Almost never is someone an eyewitness when a tree falls in a natural way. It's a brief and radical moment of transience. The sudden speed of the action is in stark contrast to the slow existence of the tree. The video work is presented in a kinetic installation where the projection screen slowly moves back and forth.

'DAWG' presents Pitbulls who run whilst being filmed from an 'en face' perspective. The camera moves along with the dog's head. The Pitbull shots are alternated by shots of springing stones, all extremely slowed down, creating a hypnotising character. By motorising seven drums through electromagnets, I made them function as acoustic speakers. Acoustic instruments require a physical space, the vibrations are tangible and provide the sound with a tactile aspect. Combining this aspect with film, I research how I can create a spatial and physical experience whilst watching the film.

'DAWG' presents Pitbulls who run whilst being filmed from an 'en face' perspective. The camera moves along with the dog's head. The Pitbull shots are alternated by shots of springing stones, all extremely slowed down, creating a hypnotising character. By motorising seven drums through electromagnets, I made them function as acoustic speakers. Acoustic instruments require a physical space, the vibrations are tangible and provide the sound with a tactile aspect. Combining this aspect with film, I research how I can create a spatial and physical experience whilst watching the film.

'DAWG' presents Pitbulls who run whilst being filmed from an 'en face' perspective. The camera moves along with the dog's head. The Pitbull shots are alternated by shots of springing stones, all extremely slowed down, creating a hypnotising character. By motorising seven drums through electromagnets, I made them function as acoustic speakers. Acoustic instruments require a physical space, the vibrations are tangible and provide the sound with a tactile aspect. Combining this aspect with film, I research how I can create a spatial and physical experience whilst watching the film.

'DAWG' presents Pitbulls who run whilst being filmed from an 'en face' perspective. The camera moves along with the dog's head. The Pitbull shots are alternated by shots of springing stones, all extremely slowed down, creating a hypnotising character. By motorising seven drums through electromagnets, I made them function as acoustic speakers. Acoustic instruments require a physical space, the vibrations are tangible and provide the sound with a tactile aspect. Combining this aspect with film, I research how I can create a spatial and physical experience whilst watching the film.

'DAWG' presents Pitbulls who run whilst being filmed from an 'en face' perspective. The camera moves along with the dog's head. The Pitbull shots are alternated by shots of springing stones, all extremely slowed down, creating a hypnotising character. By motorising seven drums through electromagnets, I made them function as acoustic speakers. Acoustic instruments require a physical space, the vibrations are tangible and provide the sound with a tactile aspect. Combining this aspect with film, I research how I can create a spatial and physical experience whilst watching the film.

'DAWG' presents Pitbulls who run whilst being filmed from an 'en face' perspective. The camera moves along with the dog's head. The Pitbull shots are alternated by shots of springing stones, all extremely slowed down, creating a hypnotising character. By motorising seven drums through electromagnets, I made them function as acoustic speakers. Acoustic instruments require a physical space, the vibrations are tangible and provide the sound with a tactile aspect. Combining this aspect with film, I research how I can create a spatial and physical experience whilst watching the film.

A bus from 1965 drives through the countryside of Noord-Groningen. The camera is situated in the middle of the bus and keeps one wind direction while the bus moves. When the bus drives and takes turns, the view changes each time. Both the landscape and the bus are perceived as individual characters in the video. The camera keeps course like a sailing boat, where the bus feels like the boat and the landscape as a green sea.

A bus from 1965 drives through the countryside of Noord-Groningen. The camera is situated in the middle of the bus and keeps one wind direction while the bus moves. When the bus drives and takes turns, the view changes each time. Both the landscape and the bus are perceived as individual characters in the video. The camera keeps course like a sailing boat, where the bus feels like the boat and the landscape as a green sea.

An Oak tree is cut in quarters over the long side, after which the quarters have been turned inside out. It created a beam-like shape with a hollow space inside. The hollow space feels intimate and personal, as it usually is the outside of the tree. The protective layer of bark is now within, while the heart of the tree is on the outside. It gives the sculpture a disarming and vulnerable character, while it keeps the shape of a heavy beam.

An Oak tree is cut in quarters over the long side, after which the quarters have been turned inside out. It created a beam-like shape with a hollow space inside. The hollow space feels intimate and personal, as it usually is the outside of the tree. The protective layer of bark is now within, while the heart of the tree is on the outside. It gives the sculpture a disarming and vulnerable character, while it keeps the shape of a heavy beam.

A bus from 1965 drives through the countryside of Noord-Groningen. The camera is situated in the middle of the bus and keeps one wind direction while the bus moves. When the bus drives and takes turns, the view changes each time. Both the landscape and the bus are perceived as individual characters in the video. The camera keeps course like a sailing boat, where the bus feels like the boat and the landscape as a green sea.

An Oak tree is cut in quarters over the long side, after which the quarters have been turned inside out. It created a beam-like shape with a hollow space inside. The hollow space feels intimate and personal, as it usually is the outside of the tree. The protective layer of bark is now within, while the heart of the tree is on the outside. It gives the sculpture a disarming and vulnerable character, while it keeps the shape of a heavy beam.

A bus from 1965 drives through the countryside of Noord-Groningen. The camera is situated in the middle of the bus and keeps one wind direction while the bus moves. When the bus drives and takes turns, the view changes each time. Both the landscape and the bus are perceived as individual characters in the video. The camera keeps course like a sailing boat, where the bus feels like the boat and the landscape as a green sea.

An Oak tree is cut in quarters over the long side, after which the quarters have been turned inside out. It created a beam-like shape with a hollow space inside. The hollow space feels intimate and personal, as it usually is the outside of the tree. The protective layer of bark is now within, while the heart of the tree is on the outside. It gives the sculpture a disarming and vulnerable character, while it keeps the shape of a heavy beam.