Judith Selenko: The Many Paths of Art
An interview by Katharina Milchrahm | New ways for the classic
Two musical works, two different videos, one common denominator: for the project “New Paths for Classicism” the video designer Judith Selenko uses both Handel’s firework music [Link zum video] as well as Wagner’s Ring without Words and creates two videos that couldn’t be more different. One abstract and spherical, the other telling a story. In an interview, Judith Selenko from Graz reveals what happened to her with this project and what her personal approach to art is.
“The best case scenario is that you are touched in some way.”
With her videos, Judith Selenko wants to create access to art. Regardless of whether it is an animated video for a musical work or the video projection on the stage of a play or an opera. It is important to her to always make it clear to the audience that her personal interpretation is only one of many possible. “I don’t want that when I’m sitting in there, that I’m being lectured, so to speak. I think it’s important to be more provoked to think, to be inspired. And what the viewer then does with it is up to them.” The video designer likes the fact that there is no right or wrong in art. “As many people we are, there are as many interpretations,” says Judith Selenko. Her video designs for “Feuerwerksmusik” and “Ring ohne Wort” are also intended to trigger a feeling in people, to stimulate them to think and ultimately to show that art is much more far-reaching than one would like to think.
“This white sheet of paper, which many people are afraid of – including myself – is enriching in a completely different way.”
Judith Selenko has always had a connection to classical music, having played in the orchestra for many years. The work at the theater and the opera have also led to the video designer having to deal intensively with it again and again. And yet – working on her projects for “Neue Weg für die Klassik” has brought her closer to classical music in a completely different way. “Just think freely for yourself, without any specifications from workshops or the direction. To ask what are my thoughts on it, what is my approach – that’s really nice, because it’s so rare.” Furthermore, it doesn’t matter how old a piece is that you’re dealing with, whether it can relate to the present one always find. It’s always nice for the young artist to get to know a new piece, because in the end what counts is your own interpretation of a musical work and how you are inspired by it.
“Ultimately, we all serve the piece.”
Judith Selenko says about her personal style as a video designer that she likes it aesthetically reduced. In other words: trying to carry out a project with few resources and not digging too deeply into the color box. What she loves about working with video is the opportunity to always discover something new. From explosions to slow motion and scanned drawings to 3D animations. But as much as the young artist likes to experiment, in the end she always asks herself one question: Is that really needed for the piece? Being able to withdraw yourself, not just wanting to push through your own taste – that’s what makes a good collaboration in opera and theater and is Judith Selenko’s personal recipe for success for the combination of old and new art.
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Judith Selenko:
Born in Graz, the video designer Judith Selenko first attended the Ortwein School for Graphic and Communication Design before she immersed herself in the big world of theater while studying stage design. She is currently doing her Masters at the Film Academy and is working on projects that range between theatre, opera, film and animation. Away from the artistic world, she takes every opportunity to travel and loves to see the world through the eyes of others.
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