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often resolve around the study of self-perpetuating complexity of experiential synthesis through perspective, image, sound and movement.Throughout her practice she engages with the relationship of reality and representation, following a Panpsychist approach to viewing reality as a recurring sentience in its actualising, continuously and dependently arising from within its liminal condition.
Drawing on Florensky’s studies of perspective in iconography: “perspective is subordinated to existence, reality, and so it lies in contradiction to supra-reality or to the sublime... it is not sublime, it is linked with history, it is realistic”.
At times, Anna practices to eliminate perspective when composing her videos. Working with the phenomenon of the polycenterdness of the gaze where the same object may be present simultaneously from several different perspectives and applying the reverse perspective, the place from which the image is seen is inside it rather than outside, the overall effect is one of a cancelling out of perspectives - of perception being perceived.
Eliminating perspective, reversing perspective, activating the viewers polycentered gaze, isolating the gaze into the dreamstate, the hypnogogic condition (through displacement and condensation) – are all shifts within a variety of relationships with reality. Such shifts act to amplify a territory where the gaze can experience itself in the joint (dependent) act of both seeing and appearing.
Anna’s films are often unscripted and sound is produced on the set. Improvisation is implemented to give space for reality to emerge simultaneously arising from the synthesis of intersubjective perspective(s) of performers/subjects as well as the viewer, yet at the same time allowing this dynamic synthesis to manifest as an overall conditioning substance forming and reforming each perspective in real time, leaving a trace as a vibrating manifold, a residue of a reciprocal, self perpetuating sensuous whole.
Anna’s study of phenomenology of embodiment, transmodality of perception and practice of somatic techniques (Qi Gong, Body and Mind Centering, Ideokinesis and Contact Improvisation) are implemented in her experimentation with perspective through camera movement, sound embodiment, psychoacoustics and proprioceptive awareness techniques in performance.
Rhythm, repetition is used to pause time, as a method to enter into dimension where all is suspended in a pendulating state. Repetition and feedback loops are present throughout the sound pattern and the frequent playbacks and replays in the moving image structures. Amplification of the rhythmic, the repetitive provides an entry into the dimension of frequency - the altering pattern of order and disorder. Silence is where things stabilise. Pulsating vibration is where the matter is stimulated and rearrangement takes place.
The film composition is often generated as a ripple expanding outwards from within a central space of improvisation (ie the beginning and ending frames arise spontaneously as a response to first and the central frame on the timeline, while the central frame is preserved to autopoetise by allowing for improvisation). Through a repetitive and rhythmic structures the different visions become interwoven movements expanding in all directions throughout the timeline, effect may be experienced as a cause within itself.