First I did animation films, when I was young, in time-lapse. And then in the '80s I went directly to video. The main reason for that was that I could control all the steps.

Every work is completely different. Sometimes the music is first, sometimes it's parallel, and sometimes the music is after. There's no rule. Music goes differently to your emotions. With music you can create different spaces and feelings easier than you can with the visual - maybe not easier, but in a way, it's more seductive.

Choosing a name is a self-fulfilling prophecy.

I'm always in awe of and respect humans for their ability to plan, but sometimes, good intentions are lost along the way. And often the way becomes the goal.

I always try to create equal power between the subject and the object, so as not to end up creating a relationship where the camera is here and the object out there. This is for me a very difficult and sensitive balance. When I produce a work, cut and frame images, I realize that spectators can identify with the images and almost forget that someone else actually made them. This would be the optimal situation. I don't know whether I succeed in doing so, but that's what I would like to have happen.

When I close my eyes, my imagination roams free. In the same way I want to create spaces for video art that rethink the very nature of the medium itself. I want to discover new ways of configuring the world, both the world outside and the world within

I have no animals, unless you count my two kilos of bacteria.