The double 16 mm projection ‘Cinesexual’ cites the iconic work of Michael Snow’s Two Sides to Every Story (1974) as a point of reference. Originally conceived as two projections on either side of a suspended screen, the film features transgender model Valentijn de Hingh and musician JD Samson. ‘Cinesexual’ mirrors Snow’s dual-perspective configuration, presenting differing viewpoints, and thus perceptions, of the same event. This approach expands upon Snow’s idea of collapsing the single viewpoint typically found in film, opening up the cinematic space to include the viewer’s physical presence.

The spatial expansion in ‘Cinesexual’ serves as a platform to interrogate the relationship between subject and object, as well as the roles of gender and representation within the medium of film. The term “cinesexual,” developed by film theorist Patricia MacCormack, describes the intense, erotic pull of cinema that collapses traditional divisions between subject and object. As viewers move through the space where Cinesexual is displayed, they navigate the parallel worlds created by reverse camera perspectives, becoming embedded in the perceptual fields generated by the film. In doing so, their bodies become implicated in the sensuous, immersive world of the cinesexual.