CONSTRUCT – two moments in beauty

2007/2010,  Animation / Three Channel Video Installation, 6 mins.

(Director / Producer / Animator / Editor)

Sound interpretations by Avi DabachAndrea Herrera Catalá and Teodora S. Vlad. Original sound track Martin Johnson

Construct (TWO MOMENTS IN BEAUTY) is an artist collaboration, exploring the human tendency of systemizing in order to understand and/or control the world.  The film is a result of conversations about the destructive and reconstructive effects we encounter, privately and in history, when trying to apply our ideas about the world upon the reality of it.

The process is a dynamic dialogue between sound and image. The Original soundtrack was made by Martin Johnson in 2007 and the project developed in to a three channel installation in 2010.

In the final installation there are three different soundscapes by three different artists from different parts of the world, each one adding their own meaning to the repeated images by Swedish filmmaker Maja Borg.

The idea is to filmically systemise our tendency to create system, and since this is a contradictory task, the artists work from simplified timeline, focusing on the points of beauty found in this process.

Chaos   >>  (BEATUTY)   >>  ORDER   >>  VIOLENCE   >>   (BEAUTY)   >> CHAOS


 The Visuals

 Maja Borg (SWEDEN)

To simplify and categorise is a necessity for us in order to understand anything about the world. We speak in metaphors, half-truths as close to reality we can manage. We create systems, formulae of language, behaviour, and identity. We depend on these simplifications to comprehend our lives and to progress as a culture, but we often trap ourselves in our own systems. When our ideas become absolute they become dangerous, and by forcing people into our categorical understandings we become violent. In the search for human perfection, humans have killed in most horrific ways. This obsession of understanding and controlling, learning about the world and applying the truth we think we have found upon everybody else, is for me one of the most fascinating processes to examine. To let go of these systems and accept the chaos would either be madness: to lose all connection, or enlightenment: to gain connection to everything.

In the evolution from chaos to comprehension –to understanding -to stagnation and habits of the mind –to fundamentalism -to forced application of your own truth, -to violence, -to collapse –to chaos again, there are moments of beauty.

In this audio-visual metaphor, this particular dilapidated six-minute system, there are at least two.

I have made the moving image solely by using substances that I normally use for creating order in my private sphere; cleaning products, dripped slowly onto pages of old scientific books. These books were meant to help us understand the world in a very particular way, and by destroying them they are recycled for a different understanding.


The Three soundtracks

SOUNDTRACK 1 – Avi Dabach (Israel)

In my work on the soundtrack, I tried to take music and natural sounds as breath or children playground, melt them and reconstruct them. To liquefy the sounds, and then slowly find the way back to solidness. I found beauty in the moment between Chaos and Order – it’s not chaos yet, but it’s not order anymore, and vica versa. The uncertain moment of  transformation.

Avi Dabach was born in Jerusalem in 1972. Working and living in Tel Aviv, making Documentaries and  Video Art.

SOUNDTRACK 2 – Andrea Herrera Catalá (Venezuela )

Is it possible to categorize an experience when it’s so intimate, so full of life, so deep and visceral – even primary? Is it possible to pin down the sexual desire?

Indeed, we try to establish stereotypes and formulas, to clear up who we are in that game:

Who do you like?

What do you like?

How do you like it?



People in general,




Missionary style,



In the end, these are all responses to the very same first instinct.

We need to match in a sexual way.


My task: Turn this into Sound.


I begin to think about the different possibilities I have to accomplish this task. I find myself unconsciously imposing the same systems. I force myself not to impose systems to something, which can’t support or corroborate systems.

Though I’m a woman, I’m lesbian, I’m Latin: somehow I reflect the categories, because I can define myself with words. And I decide to work from my very own experience, from my very own contradiction, and try to explain through sound that from my point of view, deeply, sex can’t be systematized.

I go hunting.

I lay in my bed, alone, taking a rest. I wake up, I have a shower, I get dressed. I go hunting. I go to a disco. I dance. I go round the place. I look around. I see someone I like. Will she agree? Won’t she? Seduction. Strategy. We dance, we screw. I leave her. I take a shower. I go to bed.

It is fascinating: I didn’t want to impose an order to the sexual perspective I took to face this project. Although, I have made a systematization the other way round.

Where the artist sees “chaos”, to me it’s order. And there is only one moment in beauty, in the middle. The useizable sexual act. The soundtrack of my own sexual act shared with my current companion.

Andrea Herrera Catalá was born in Caracas, Venezuela in 1977. Presently making “Nena, Saludame al DIego” and “God Patented the world”.

Andrea began her higher education in Cinema and Television at ARCIS in Santiago, Chile, and earned her degree in Film Directing. After directing fiction and documentary series for Venezuelan and Brazilian television, her work “Eloina,” a film short that is part of the “1, 2, and 3 Women” trilogy has been selected in several festivals such as “The New Latin American Havana Film Festival,” “Chicago Latino Film Festival,” and “The Calcutta International Film Festival/Kolkata Film Festival”

SOUNDTRACK 3 – Teodora S. Vlad (ROMANIA)

The soundtrack I have created is an almost spontaneous reaction to the visuals in terms of structure and pattern. It is composed from raw nature-like sounds combined with abstract futuristic sounds to emphasize the gap between the physical and the metaphysical world. In the process I ended up recycling and reorganizing the initial structures of those sounds and mixed them with raw recordings of individual instruments (cello, horns, cymbals and bells – performed by two artist friends, Amy Réne and Paul Kennard) to create a sustained background soundscape.

The text I added into it is extracted from a book I have found in a library in Edinburgh and rescued it from being thrown away. To my surprise this was a Romanian book about a Romanian artist, Corneliu Baba, a portraitist, a painter of man, attracted by the fleeting aspects of things and beings, by hollow impressions and by dissolution. The introduction to his work of art is written by a famous modern Romanian literary and art critic Tudor Vianu. I found his descriptions of some of Corneliu Baba’s paintings extremely beautiful and descriptive, bringing back some of the most beautiful memories of my childhood, and therefore I thought fitting to use two of them as virtual paintings in my futuristic soundscape, bringing the old and the new together.

As an individual and aspiring artist I do not tend to systematize. I think about myself to be a visceral artist. I act from the gut feeling. My aim was not strictly to deconstruct the structure I could sense in the visuals but merely to create two new moments in beauty by restructuring two old ones.

Teodora S. Vlad was born in Cluj-Napoca, Romania in 1983. She studied film at Edinburgh College of Art and is now based in Berlin. Teodora is experimenting with sound and visuals to create multidimensional landscapes, focusing on providing emotional experiences.