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When I have an idea, more often than not there’s an element in the process of making that is in some way uncontrollable. Most of the times it is the unscripted reality in front of the camera, where as I stand by to catch images that are in some way strange and recognizable at the same time.

‘I love fishing when there’s no wind’ is a play on spectatorship. I was dealing with ways to show more of the actual process in the moment of filming. I was questioning how big is the distance between me as a maker in the actual process seeing the surrounding that I am filming (being there in the experience) in relation to the spectator (an anonymous viewer or me as a spectator) viewing the image of that specific situation on-screen within the frame. What was I seeing more of maybe differently in the moment of filming in relation to what I or the viewer was seeing in the end product of a video piece.

I started questioning the different ways of how I can look or deal with the process of filming. For example If you take the lake as a metaphor, you can (1) look at the lake (observation, contemplation), (2) throw a stone into the lake (manipulation, intervention) or (3) walk into the lake (participating, immersion). In the same way you could see the process of making a film. I can (1) put the camera in a fixed position and see what starts happening within the frame, I can (2) interfere and manipulate the scene by the way I aim the camera or by throwing in an actor, or I can (3) become part of the scene by walking inside the frame and for example start questioning the people that pass by within the frame of the camera. Does the latter create a fiction and if it does doesn’t it at the same time become more real to me because I feel more part of the situation?

I chose this location because I wanted to play with the contrasting elements of motion and motionless, loud and silent, fast and slow, urban and the countryside, work and leisure, fleeting and continuity. The piece is created out of coincidence just as much as it is constructed. The voices in the back (also subtitled) are a conversation coming from two fisherman that happened to be fishing a few meters away from the camera. The content of their conversation in relation to what happens in front of the camera becomes a strange but familiar dialogue between the casualty and absurdity of daily life situations.

When looking at this video on one hand you could think it is a documentation of something that happens in a short amount of time. On the other hand a lot of strange things are happening in this short time and you start second guessing what is real or truth. Who are the voices in the back? Did there really pass by 10 motorcycles? You see the first one and the second and the third and then 4th, 5th .. you might start questioning the reality and after that it starts to become a bit surreal. Also because everything that happened before felt so quiet and slow. Suddenly they start disrupting the flow of that specific time and location. In reality everything you see in the video actually happened somewhere that afternoon. But in the edit I did make cuts between certain situations, to create a certain rhythm and continuation that creates more direct and active associations between the things that can happen in a afternoon in a place that seems rather quiet and ‘normal’. The finished piece helps me remind that the everyday isn’t that quiet and usual and if you focus and connect certain things you start seeing little gifts.