• At The Places of Accident

    At The Places of Accident Series, No.1
    Mixed Media on canvas, 84 x 60cm
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  • SINAPSI – The Painter Daniele Bordoni

    This is a short portrait of Italian Berlin-based painter Daniele Bordoni.

    Please select subtitles (Italian, English, German) by clicking the ‘CC’ icon at the bottom (on the right-hand side) of the player.
  • Recent Work

    Recent work on canvas and paper in high-resolution can be found HERE  
  • Untitled

    Collage, Wool on paper, ca. 60 x 40cm
  • Black Mirror

    Black Mirror, Wood, bandages and black primer on canvas, flyscreen, 120 x 80cm, 2012
  • Empty album

  • At The Places of Accident

    No. 1, 3 and 7 from the 'At The Places of Accident' series
    Mixed media on canvas
    84 x 60cm
  • Marcelle Hanselaar – Postcard From The Edge

    A short portrait of London-based Dutch artist Marcelle Hanselaar recorded in May 2013. The film includes scenes from her solo show "Walking The Line" which took place at Kings Place Gallery London around the same time.
  • Playing With Fire

    "Constructed from 1930s archive footage of the Soviet Union. This is Frankenstein for real and a curse on the perpetrators past and present. A film by Thomas Volker." (Jon Wozencroft) Playing With Fire premiered at the National Theatre London as part of the RCA / NT Frankenstein project. National Theatre website Frankenstein Project website Digital Video (comprised of 16 + 35mm film stock), sound, 2'30" June 2011
  • Walking The Line

    WALKING THE LINE was filmed at the deserted Olympic Village in Berlin and was shown as part of a theatrical performance called "Again The Room Was Plunged Into Silence". The event took place at the Pit Theatre (Barbican Centre London) as part of the "The Surreal House" exhibition on 10 June 2010. More information can be found at the Barbican Centre`s website (Super 8 + Digital Video, Sound, 4'17") Tags: Barbican Centre London, The Surreal House, Super 8
  • Choke

    CHOKE addresses the inner conflict and struggle of a woman suffering from speech disorder and her desire for self-expression and self- transformation. Additionally this work is aiming to reveal the mismatch or even the contradiction that often exists between the actual message (i.e. its semantic content) and our perception of it through the way it isphysically expressed (i.e. facial expressions, gestures, voice timbre and articulation) and communicated to us. Despite the film being a "work-in-progress" piece, CHOKE was selected for the 10Gales Gallery group show (as part of the 10Gales Art Prize) in East London in March 2011. Digital video, sound, colour, 5min. *selected for 10Gales Gallery group show, 10Gales Prize (15 - 20 March 2011) 10Gales Gallery website 10Gales Art Prize  
  • Record

    Mankind has developed all kinds of sophisticated and complex languages. Yet the body seems to remain the most direct and effective instrument to communicate and express basic emotions. Action and reaction, tension and release are not only an integral part of human (or animal) communication and rituals, they`re also musical and artistic concepts, which I`m interested in and which I have chosen to be the subject of this film. Watching a body in slow-motion as a structured moment in space and time, bending and twisting, for me is like observing insects through a magnifiying glass. The act of slowing down the speed of motion seems to change its "meaning" in a way that it becomes more significant. When we talk about "a body", we generally think about a single organism, consisting of limbs, muscles, skin and bones etc. But the word body is also used to descibe a group of people, a community or even society, in which individuals interact with each other. In my work as a performer I have always refused to accept the stage as the only platform for the performing artist, rendering the audience to be the "receiving" crowd. By jumping down from stage and therefore into the "real world", I have tried to become part of that body. This act very often is considered aggressive, because it`s breaking the rule of the right to privacy and thus creates tension and deliberately provokes reaction. But it can also be a moment of great sensitivity and risk, in which the performer takes responsibility and either wins or loses the audience.
  • One Double One

    A music video for the Song One Double One from the recently released album 'Short Bursts From a Starting Gun' by The Static Hand. For this project he collaborated with South-Africa born painter Carla Busuttil and The Static Hand.
  • Transfigured Night

    For this project I collaborated with two professional dancers. Our meetings and rehearsals resulted in partly choreographed, partly improvised performances that I recorded with two cameras at a film studio in London Battersea over the course of two days. The dance sequences shown in the film can be understood both as an interpretation of Schönberg's orchestral piece, and the poem by Richard Dehmel. Stylistically the film borrows from aethetic ideas that are related to German Expressionist film and dance. It premiered at the Cadogan Hall London on 8 July 2011 and accompanied the performance by the Arensky Chamber Orchestra. Transfigured Night premiered at Cadogan Hall London 8 July 2011 Khyle Eccles Khyle is a London-based dance artist, originally from Derbyshire. Starting as a hiphop dancer, Khyle then went on to study classical ballet and technical contemporary. Since graduating he has worked with many of the UK's top choreographers, touring to some of the biggest venues across the world. Amelia Cardwell Amelia is a London-born dancer, she trained at The Rambert School of Ballet and Contemporary Dance. After graduating she joined dance theatre company Chordelia under the director Kally Lloyd-Jones. Amelia currently works as a freelance dancer/ choreographer and movement director in London.
  • The Abandoned Places of Berlin

    For the "Kudamm 101 Room Happening" Thomas Völker collaborated with the Berlin-based musician and photographer Mathias Rösner whose photographic work explores the abandoned places within the urban space. Places that don`t vanish as they decay, but instead reveal a tragic beauty as they pass through each stage of change. For the Royal College of Art show at the Scenery (the hotel`s large conference space) some of the photos will be offered for sale as limited edition colour prints.
  • One Million Terrorists

    "Terrorism" has become one of the most frequently used words in today`s media landscape. Yet although not a single day passes without our hearing or reading about the terrorist threat, it is amazing that there appears to be no precise definition of the term "terrorism", nor even any clear description of the prime characteristics of a terrorist. Let`s take a look at two examples: WIKIPEDIA quotes: "Terrorism expert Walter Z. Laqueur has counted over 100 definitions and concludes that the only characteristic generally agreed on is that terrorism involves violence and the threat of violence. Yet terrorism is hardly the only enterprise involving violence and the threat of violence. So do war, coercive diplomacy, and barroom brawls." On the front page of The Guardian one could read about "details of an MI5 document about the background factors leading individuals into involvement in terrorist activity. It is based on case studies of several hundred people. It concludes that there is no typical profile of the British terrorist. Those who have become involved have different attitudes to religion and are ethnically diverse; they are mostly male and in their 20s, but women and people over 30 are also drawn in; there are different familial circumstances and different levels of educational achievement amongst those covered by the study". What do terrorists look like? What jobs and what hobbies do they have? What`s their aim in life? Do they have friends, or are all of them just crazy loners? I was curious to find out, so I asked people in Berlin and in London to draw an identikit picture of a "potential terrorist" on the basis of a couple of lines on an A4 sheet of paper, which I`d prepared, photocopied and attached to a clipboard earlier. The result was some 300 drawings, the best of which have been reproduced here on the left-hand pages of this book. I have combined them with definitions and descriptions of terrorist profiles and objectives that I found in newspapers or the Internet.
  • Viewing/Listening Space

    Between 2010 and 2011 I organised and curated the Viewing/Listening Space at the Royal College of Art together with visual artist and film-maker Akhila Krishnan. The Viewing Space series began as a student led initiative offering a platform for students to show and share film and video work. By also showcasing the work of filmmakers and artists, and inviting practitioners to talk about their work, it has become a forum and place for discussion and analysis. Akhila and I decided to expand the original idea of the Viewing Space by also focussing on sound. Hence the Viewing Space also became the Listening Space and we started the series with films by Guy Sherwin, David Lynch, Alan Callander and Chris Carter (in collaboration with Cosey Fan Tutte). The event was held under the theme "Sound and Structure". For the second event we invited two fellow Communication Art & Design students (Deniz Johns and Karolina Raczynski) to join us and organise a Viewing Space with our support. The theme they chose was "Performance to the Camera". The programme consisted of films by Jayne Parker, Jozef Robakowski, John Smith and Ulrike Ottinger as well as video works by RCA students. For the last event I invited Berlin-based musician, digital artist and film-maker Sebastian Purfürst for a special screening of his film "The Fine Art of Designing Silence", which was accompanied by a lecture and followed by a talk with the audience. All posters for the Viewing/Listening Space we curated were designed by Josef Pochodzaj.
  • What Makes A Man Start Fires?

    WHAT MAKES A MAN START FIRES? was a project concerned with questions raised by American psychologist Stanley Milgram who conducted a study in the 1960`s at Yale University known as the "Milgram Experiment" in which he examined the relationship between obedience and authority. A detailed documentation of the project will follow soon. This work was nominated for the Terence Conran Award 2011.
    Video Installation, 4-Channel Video Installation, CCTV cameras, 4 looped DVD`s, sound, mirrors
    Royal College of Art Show (24 June - 3 July 2011)
  • Seismographic Drawings

    The Seismographic Drawings are the first works in an ongoing series of drawings which are inspired by the music of Italian composer Giacinto Scelsi (1905 -1988). These works focus entirely on the line as a means of visualizing internal physical and psychological processes (especially of tension and relaxation) in response to sound. This is achieved both by the maximum reduction of the creative means (e.g. by avoiding or eliminating colour and by using only one drawing tool) and through the establishment of formal and compositional rules (e.g. width, number and spacing of the rows in a drawing) before the actual drawing process starts. Each drawing is created in a single session and consists of a single line, which continues in the head of the artist while he moves to the next row. This process is not interrupted before the end of the last row has been reached. These preparations allow the artist to connect with a moment in the music spontaneously and "in real-time" without having to make creative decisions orevaluations that might cause distraction from the process of "pure recording". In this way the concept of the inspired artist fades into the background.By responding, recording and finally translating the sound into a visual andemotional waveform, he merely becomes a medium of the music with a task similar to thatof a seismograph.
    The Seismographic Drawings were created while listening to the "Quattro pezzi su una nota sola" (Four pieces on a single note) by Giacinto Scelsi.
  • I Remember Nothing

    I Remember Nothing is part of an ongoing series of works that are concerned with psychogenic amnesia. This A2 Fine Art Print is limited to a number of 10 copies.
    Sisal on drawing paper
  • Why Does X Do Y?

    Black primer, pastels, magnifying glass on canvas, 2009
  • You Never Know Who You`ll Meet On Board

    From a series of large-scale drawings that are concerned with disasters.
    Ashes, charcoal, pastels, blood, human hair, bandage clips, insulating tape on canvas, 110 x 200 cm, 2008
  • Sound and the Inner Image

    Sound and the Inner Image was organised and curated together with Akhila Krishnan. It was part of a series of discussions concerned with moving image practice. This particular evening was dedicated to soundtracks and their potential to stimulate and create images within the listener`s mind. Our guests were Jon Wozencroft who runs TOUCH Music (a UK-based multi-media publishing company and record label) and Russell Mills who is a multi-media artist par excellence and well-known for his artwork used by musicians such as Brian Eno, Peter Gabriel and the Nine Inch Nails.
  • Record (Soundtrack)

    This is the score for RECORD. It comprises the selected scenes and the audio fragments shifted in layers of sound. The soundtrack was cut on vinyl record limited to 5 copies (see photo below). The digital version can be found here. A pdf of the score is available here.
  • Uphill Downhill and Across

    Digital Video, 1 minute, sound: 3 records at different speeds, 2010 Acoustic Images Series - Location, Location, Location
  • Into Me Out of Me

    Digital Video, 1 minute, Royal College of Art,2009
    Acoustic Images Series - The Power of Transition 2
  • Bug and Lizard

    Digital Video, 1 minute, Royal College of Art, 2009 Acoustic Images Series - The Power of Transition 1
  • The Big Sleep

    The Big Sleep is a visual composition of freely associated images and motion and a meditation on the concept of perpetual transformation and impermanence.It was done entirely without camera. The raw materials used for this film consisted of x-rays, old polaroids as well as scanned textiles and objects such as wool and rubber gloves. Each item passed through several processing stages of manipulation before it became part of the film. The wool, for example, was glued on tracing paper, scanned and then - in the digital state - cut into pieces. From these fragments I created frame-by-frame animations and modified them, using both "traditional" animation techniques and and VJ programmes in order to manipulate the footage in "real-time". As an exception, I used a short scene, from an educational film called "How the eye functions (1941)". When I watched the footage, the fragility and transitional character of the piano piece "Für Alina" by Arvo Pärt came to mind. So I finally used it as a point of reference, which forms the rhythmical structure for the stream of the images.
  • The Ritual

    This one-actor film is divided into three parts, which could be regarded as three acts similar to a stage play. The set for the film is simply a single bed and an old pendulum clock arranged at the same angles as the big and small hands on the clock face. The soundtrack just consists of the continuously ticking clock and a speaker, who recites a repetitive text in a stereotypical way. The actor remains completely silent throughout the entire film. Apart from repeatedly moving the bed to and fro and doing so, changing the angles at which both pieces of furniture - as well as the hands on the clock face - are arranged, his actions are stripped down to the minimum. While initially the soundtrack and the regular swing of the pendulum convey the impression that we're watching a story told in linear fashion, we gradually recognize as the film progresses, that this may not be the case until it becomes obvious in the third act, when sequences of events completely run out of chronological order, that time, as a continuum in that film, doesn`t exist.