For Max Cooper’s track, the digital artist visualized the concept of “existing inside a machine” — a fleeting consciousness bound by structure yet reaching beyond it. The resulting audiovisual work combines intricate motion design with Cooper’s layered sound, reflecting on technology, capitalism, and human perception in an accelerated world.

What inspired you to create this piece, and how did the concept of "existing inside a machine" come to you?

“I exist inside this machine for a short while. Constrained by its structure, somehow feeling that I am more, but unable to comprehend. Then I am gone. What should I make of this?”
Max Cooper found this beautiful quote on a database which resonated with his own experience of life in a way he wanted to express musically and visually. That’s when he contacted me to collaborate on this idea. My creative task was to visualize this quote – creating a kind of view of the current time, a snapshot of the present, without knowing where we are heading next.

The narration suggests a fleeting consciousness inside a mechanical structure — do you see this as a metaphor for human life?

There are a lot of thoughts and ideas in this video I can relate to. In a way, it corresponds to my view of the current situation: The capitalist machinery that is expanding and evolving without hesitation. A complex, merciless, maybe even pointless conglomeration of visual stimuli – which raises questions and makes me wonder what is actually going on here? Digital devices everywhere, the economic machinery running ever faster, communication no longer makes sense.

How does the music interact with the visual elements to reinforce the feeling of being constrained yet transcendent?

For Max Cooper and myself it is always important that music and visuals work together very closely, so interaction between these two parts is essential.
Also, when creating a music video, for me it is always helpful when the music offers lots of elements – complex rhythms, various melodies or changing tunes and breaks during the track. By this I can generate much more powerful and meaningful visuals – like in this case.

Was the balance between sound and motion a deliberate choice to reflect the tension between freedom and limitation?

It was definitely part of the creative process to react to and to reflect visually what is going on during the track. As mentioned before, there are lots of varied parts in the music, helping me to create the narrative around these fluctuations.
I agree: There is lots of tension on every level in this video and of course detail – for example lots of social and political commentary that requires repeat viewings to discover all parts of this complex video.

Your work often blends technology with emotion — do you see yourself more as a designer, an artist, or both?

I am definitely somewhere in-between those two disciplines. Even concerning my education this makes sense: I am a graphic designer as well as a digital artist.
When working for clients and on commercial projects, the focus is naturally on the purpose of presenting a product or a certain content. But, if possible, I always like to look for creative side paths where I can incorporate my own artistic impulses.
A music video like this is obviously different – as there is much more creative freedom and space for my own ideas compared to a normal commercial task.

What first drew you to working with motion graphics and audiovisual art?

When I began studying visual communication in Düsseldorf, we had a course in the first year in which our professor encouraged us to start an animation project. Many of the students did not do this (as it was rather unusual for a graphic design course), but for me it was the starting point for finding solutions to design tasks mainly with the help of moving images – and it still is today!

How do you see the role of digital art evolving in the coming decade?

In the best case including lots of human creativity and inspiration! There is currently so much AI generated stuff out there that is both: Technically fascinating and sometimes visually thrilling (if nicely done), but at the same time frightening, often very boring and kind of out of control.

Are there themes or questions you feel especially drawn to explore in your next works?

Hopefully the next project will be as creatively challenging as this one. Then, new questions and ideas will surely arise, I’m sure.

If you could describe the next chapter of your artistic journey in one sentence, what would it be?

I am always interested in finding creative solutions for the next task.

What new projects or directions are you currently exploring?

That's a difficult question. To be honest, this year has been pretty tough so far. Recession, a generally uncertain future, AI technology spiralling out of control – there are many factors that currently make it difficult to work as a freelance motion designer.
Personally I have been working on a small side project for quite a while now, where I animate vintage book covers, publishing them mainly on Instagram. This allows me to keep my creative skills up to date, have fun experimenting, find visually appealing solutions and develop ideas for new projects.

What do you ultimately hope your legacy as an artist will be?

In my career so far I think that I have animated quite a few projects that might leave some visual traces and have had at least a little bit of impact – hopefully.