Since 2000, I have explored the poetic potential of pictograms.
Very much in contrast to the widely spread definition of picto-
grams as impersonal symbols, I think that pictograms are al-
ways evaluated in a strongly subjective way, because people
are human and therefore develop relationships with everything
that surrounds them in order to explain their world. Every indi-
vidual experiences his environment from his very own point of
view. In contrast to detailed pictures, pictograms profit from their
reduced format. They open up space for the public to work with
their own fantasy and allow the viewers to come up with their
personal interpretation of pictures as well as their contextual re-
lationship. I am very fascinated by the phenomenon that picto-
grams which are designed to be sober and formal yet can be
turned into a perfect instrument for telling a personal story. In
my films I introduce a deliberate individual grammar and syntax
into the standardised system of pictographic signs. The picto-
gram which is recogni- sable because it is codified does not
stand idle in accordance with the rules, but is instead turned
against the codes. The pictoanimations borrow the strictness
of a social convention in order to simultaneously go playfully,
poetically, comically or absurdly against the grain. The rigid, re-
gimented world of the pictogram is replaced by a poetical one.