In the artist’s moving image culture it is we, the people, who keep films, sprockets, perforations, images, sound negatives, knowledge moving – the forces behind such filmmaking are strictly non-commercial, moreover, such work is still made through face-to-face contact between people.
Lest we want to forget where our own sense of cinema aesthetic comes from, we have to acknowledge that digital film cannot exist without its own ancestry. Hand-made film has carved itself a new place in the past years, at the crossroads of visual art and cinema, with overtones of avant-garde, expanded cinema, film as performance, embodied knowledge, psychedelic ethnography and so on. My practice explores the connections between the lyrical film tradition, hand-made production, and the role of language and writing during the process of making films.
I feel that the pace of artistic creation is a matter of dealing with alternating speeds: oscillating between the quick zigzag of the thinking mind and the slowly swirling energy of intuition. The deadly speed of the mind needs constant cooling in intuitive waters, beyond reason and judgment.
Miki Ambrózy (1979, Budapest) is a film artist and educator whose work is centered around the dynamic between language, film form and narrativity. Building on influences of autoethnography, expressionist cinema and structural film, his starting point is always deeply personal. His interest centers around embodied knowledge in gesture and routine, the choreography of the everyday that could reveal the thinking implicit in our actions. His work combines the explanatory, expository force of contemporary documents while keeping the poetic quality of lucid, timeless dreams.