Film Director & Video Artist



Moving image work explores perception as a relational, recursive, and sensuous process—where reality is not simply represented, but co-emerges through movement, sound, image, and gaze. Drawing on her background as a dancer and sculptor, she approaches filmmaking as a spatial and corporeal practice—sculpting time and perception through an improvisational lens.


Her films often unfold in co-emergence with the moment, allowing the material to compose itself through spontaneous interaction with the bodies, environments, and textures present on set. Improvisation is central—not just as a method, but as a philosophy. Each work opens space for reality to manifest through the dynamic synthesis of intersubjective perspectives, forming a kind of dreamlike organism that reshapes itself in real time. The result is a porous, sensuous composition—vibrating with the residue of shared presence and relational becoming.


Influenced by panpsychism, somatic practices, and the phenomenology of embodiment, Anna’s work dissolves conventional perspective. Inspired by Pavel Florensky’s writings on iconographic space, she experiments with polycentric and reversed perspectives—where the viewer is not positioned outside the frame, but folded within it. The gaze becomes multidirectional and self-aware: perception perceiving itself.


Fairy Tales

serve as a vital narrative undercurrent in her work—as a genre that resists the linearity and irreversibility of historical time. Myths and tales offer a language where space and time collapse, where the fantastic and the real intertwine. In this space, distortion is not a failure of truth, but a portal into polysemic meaning. Her films operate as hybrid forms—digital collages of Butoh dance, sculptural gesture, elemental materials, and sound improvisation. Through these liminal and layered vocabularies, she crafts cinematic rituals that flicker between the archaic and the speculative, between silence and vibration, presence and disappearance.