The name “Wild Acorn” comes from how I think about film.

 

An acorn grows into a tree, while an image is only a fragment of time. People change, people age, but certain moments remain — like seeds — waiting to be encountered again at some point in the future. At the same time, an acorn suggests a beginning. The start of something that takes root, and slowly unfolds over time. This is close to how I understand moving images. Not as a finished, carefully packaged result, but as a record of something just beginning.
 

My approach is largely documentary rather than staged. When necessary, I may offer some guidance, but most of the time I prefer not to interfere, allowing events to unfold as they are, and shaping them later through rhythm and editing. Sometimes the work is restrained; at other times it carries a certain tension. But these qualities come from the moment itself, rather than being imposed.
 

My background in film informs the way I work. For me, it is not only about recording, but about organising time, emotion, and narrative. The result often sits somewhere between documentary and cinematic — neither fully objective, nor overly constructed.
 

A significant part of my attention goes into rhythm and editing. I see them as the underlying structure of the work. When you return to the film, I don’t want it to feel like simply watching a video, but rather like re-entering a state — where fragments, sounds, and emotions begin to surface again.