Interview
Martin Gerigk
Martin Gerigk, a composer and experimental filmmaker born in 1972, is recognized for his distinctive approach in blending sound and image, delving into the synesthetic connections between these perceptions. His career as a composer includes orchestral works, chamber music, and solo concertos, presented on prestigious stages across countries like Korea, Japan, the United States, England, Finland, Austria, and Switzerland. Gerigk often collaborates with notable international soloists and ensembles.
In addition to his musical work, Gerigk is acclaimed for his audiovisual projects, which reveal the hidden poetry in natural and scientific phenomena. His experimental films, combining intricate soundscapes and visual sequences, have been showcased at renowned international festivals and have received several awards.
At Experimental Brasil, Martin Gerigk won the Best Experimental Short Film category with his work Torii, highlighting his significant contribution to contemporary experimental art.
1. If you could sum up the essence of "Torii" in a single sentence?
Martin Gerigk: A synaesthetic and spiritual journey through five philosophical aspects of Japanese Shintoism.
2. Why did you choose to focus on Japanese culture and Shinto symbolism for your trilogy?
Martin Gerigk: I grew up partly in Asia. My interest in Asian cultures and religions probably stems from this experience.
3. How was your experience filming in Japan, and how did the environment influence the final visual aesthetic of "Torii"?
Martin Gerigk: Filming in Japan was a fantastic experience! You become part of the incredible landscapes and the unique atmosphere. The Shinto locations had a certain spiritual energy that was very touching and thought-provoking. It definitely influenced the final visual aesthetic.
4. You explore five levels of consciousness in "Torii." Did you have a specific inspiration or reference for this structure, or was it entirely conceptual?
Martin Gerigk: These five levels of consciousness came to mind during my travels in Japan. The country combines many contrasts. It's not unusual to see technical extremes and religious lifestyles side by side, often intertwined. From this experience, I developed a concept: a journey from existentialism to metaphysics, abstraction, and the Shinto deities called Kami, culminating in a transition that weaves these diverse philosophical threads together.
5. Given your background in musical composition, how do you approach the integration of sound design and visual elements in your films? Do you find similarities between composing music and filmmaking?
Martin Gerigk: I started as a composer of contemporary music, and all my films are essentially audiovisual compositions. I’m synaesthetic by birth, meaning I "see" defined colors and shapes when I hear sounds. I use this as a technique in my films, treating the colors and shapes of each sequence like musical notes, aligning them visually with the shapes and colors I perceive in the sounds, and vice versa.
6. You have a distinct minimalist style. How do you decide what elements to include in your work to maintain this aesthetic while conveying complex themes?
Martin Gerigk: My choices are purely synaesthetic. Shapes, colors, and the general composition must match the soundtrack. I often select filming locations based on the geometric shapes needed for specific sounds or music. This requires a lot of research and preparation.
7. Many of your films have been featured in international experimental film festivals. What does recognition in this niche genre mean to you, and how do you perceive the role of experimental cinema today?
Martin Gerigk: I am, of course, happy about the attention, but the most important thing for me is to reach the audience, to touch viewers, and perhaps make someone think about the wonderful hidden aspects of our surroundings. I see the role of experimental film as a poetic one. Breaking away from traditional narrative forms opens up new possibilities for expression, revealing less noticed inner values of experience.
8. Science and natural phenomena appear frequently in your works. What is it about these themes that fascinates you, and how do they shape your storytelling approach?
Martin Gerigk: For me, science and natural phenomena are just different facets of a fundamental spiritual concept. Mathematics, in particular, feels like pure poetry. I often use mathematical formulas to illustrate the abstract beauty of natural phenomena.
9. Your films often use symbolism, like the Torii gates, to convey deeper meanings. What role does symbolism play in your creative process, and how do you decide which symbols to use?
Martin Gerigk: I use symbols to build a thematic arc. As a music composer, I create sounds symbolically for emotions or characteristics, and I apply the same approach to my cinematic imagery.
10. Your films are deeply interpretative and open to multiple readings. How do you feel about audiences deriving meanings that might differ from your original intent?
Martin Gerigk: That’s not only okay with me—it’s desired! I never expect the audience to decipher my original intention. I merely provide suggestions and hints, a framework. Each viewer should draw their own experiences from it. That’s what makes me happiest.
11. With the completion of your Japanese trilogy, what new directions or themes are you considering for your future projects? Are there other cultures or philosophical concepts you are eager to explore?
Martin Gerigk: I am always searching for new themes. I recently finished a trilogy on the demonic aspects of modern humanity, titled Demi-Gods, Demi-Goddesses, and Demi-Demons, in collaboration with collage artist Nikola Gocić. One of my recent films was about a wild night car ride from Los Angeles to the desert—a flickering swirl of time-stretched movements and night light graffiti. My current project is a sensual essay on death called Prayer of the Sea. And for 2025, I am already preparing a fully abstract short film titled Lines and Patterns.
