Gert-Jan Prins & Martijn van Boven

MvB Walzkörpersperre is really a film about rudimentary aspects – the purity of light and electronic signals being transposed into electronic sound. The idea of verticality is like an obstruction: you can’t enter it, and you can’t pass through it.

Manuel Knapp

MK It’s a kind of a negative life form, like an ancient creature that has always been here. Geometric shapes, figures and lines are lifeless in themselves, but here the movements of shapes and grids bring them to life… they become a kind of organic geometry.

Johann Lurf

JL I like the ambition of the pyramid shape. I also like their simple structure – how they should look, but then how different they can appear in reality. They are also very recognisable landmarks. They strive for perfection and for power, of course.

Björn Kämmerer

BK I wanted to use fluorescent light fittings like the ones you see in office or work spaces. That was the basic idea. In the beginning I just wanted them to move mechanically. I also wanted to create an abstract image to avoid any associations an object could evoke.

Makino Takashi & Telcosystems

TM I had a variety of materials, lots of images of nature, trees and water, and Lucas [van der Velden] had numerous photographs downloaded from the European Space Agency (ESA) website. The basic material therefore seemed to be quite different.

Tina Frank

TF We’ve been working together for many years and were in constant contact for record cover designs or other projects. At the beginning of this year I was in the process of creating a cover for him when I rehearsed with the Synchronator Orchestra in Amsterdam.

Esther Urlus

EU I’ve been working with different colour techniques for a few years now, and recently researched their origins. It started with early inventors and pioneers, not only cinematographers but also photographers. I also investigated the various emulsions.

Billy Roisz and Dieter Kovačič

BR Dieter [Kovačič] and I were thinking of how to deal with this new and challenging topic of verticality and cinemascope and trying to figure out how to work with it on a structural level. Although I make abstract films, they often have some kind of narrative.

Joost Rekveld

JR What you see are the processes that run in a computer simulation. It’s built around pixels and the way they react to neighbouring pixels. Lots of people are interested in complexity and chaos nowadays.