Andrew de Freitas

* 1986 in Auckland, NZL
lives in Frankfurt am Main

Andrew de Freitas uses the medium of film to bring together performance, sculpture, animation, texts, photography and many other fields. Not that he sets out to create a film with specific content, as he instead addresses individual aspects of life and gradually explores them. The idea behind his latest film “The Bends” (2015) as in its predecessor “Underbelly” (2014) is to “address” things that as a rule cannot be experienced effectively through linguistic communication.

“Underbelly” draws its subject matter from beneath the surface of the objects, scenes and events it presents, and in this way identifies unequal elements in them, such as the different trajectories of social or economic development. By contrast, “The Bends” presents a collage of various additional productions that also have a life outside the film: the latest research findings in the field of VR occuli, sculptural works such as silicon masks, luminaires, fountains, oak rods bent by steam, an inflatable object, and much else besides. Starting from the premise that life is real and is thus logically bound up with the existence of many different people, organisms and perspectives, de Freitas assumes the existing of different forms of reality. He also sheds light on two sets of topics, namely decompression disease such as occurs when a diver for example leaves a high-pressure area too quickly, and the different semantic meanings to the verb “bend”. Here, the film toys with the oscillating states of perception.

Nassauischer Kunstverein Wiesbaden

The Bends, 2015
Virtual Reality Installation (in cooperation with Samuel Walker), HD Video, bent steel, chain