SCHULE FRIEDL KUBELKA

SCHULE FRIEDL KUBELKA

APPLICATION 2026-2027

BRITT ROGER SAS
+32 499 22 39 68
brittrogersas(at)gmail(dot)com

short biography

I am Britt Roger Sas (1987, Turnhout, Belgium). In 2012, I graduated from Université Sorbonne Nouvelle with a Master’s degree in Film and Audiovisual Studies. A year later, I enrolled in a two-year film program at The New School in New York.

When I returned to Belgium, I settled in Brussels and began working in the cultural sector as a production manager and artistic collaborator. Over the years, I worked with organizations and artists including Kunstenfestivaldesarts, ICTUS, Kris Verdonck /A Two Dogs Company, Musiques & Recherches, Cultureghem, Cifas, Nicolas Mouzet-Tagawa, Kita Bauchet and Francesca Chiacchio.

During those years I continued to nurture my own artistic practice, even though it often took a back seat. At the same time my work as a production manager helped shape my understanding of the artistic proces, taught me how to collaborate in collectivity and freed me from the impression that there are rules to be followed when it comes to creation.

Two years ago I consciously started shifting my focus, switched up some things in life and found a sustainable balance between developing my own practice and working as a freelance production manager. Since then, I have been able to dedicate more time and attention to my artistic research ; I got selected for residencies, created performances and through workshops I revived my engagement with analog filmmaking, which I loved practicing when I studied film.

Today, I am excited to be in the position where I can freely engage with my practice.
Guided by curiosity and doubt, I am interested in questioning myself and the foundations of my work, uncovering its core, allowing it to transform through experimentation and in dialogue with others.

One of the facets I look forward to exploring further, is analog filmmaking. I’m drawn to its physicality, tangibility and intimacy and I would really like to take the time to experiment with it and see how I can translate ideas and questions to the medium.

In my search for possible ways to engage with analog filmmaking I came across the Schule Friedl Kubelka. Learning more about the school through the website and talks with a former student, I am convinced the school’s framework could be an ideal environment at this stage of my artistic journey: a place for learning, experimentation, play and cross-pollination between people and practices.

a selection of work samples

> With this application-webpage I will take you through some samples of my work, all related to film and/or photography, in chronological order.

If you are interested in seeing other research and creations, I invite you to have a look at my website. (brittrogersas.com)

My thematic focus varies, but the notions of discovery of the self, interconnectedness between people and the world we live in, the sense of belonging, nostalgia and the notion of play are often recurring.

. drie handen op één buik, 2013, 10’15”

A first short film I made at the Sorbonne while studying film theory and wanting to explore the process of filmmaking itself.

drie handen op één buik visualises the quest of a little boy trying to get closer to his parents. Along the way someone notices his efforts.

. Hoe zij ze spelen, 2014

Hoe zij ze spelen is a photo series about the pigeon racing culture in the Campine region in Flanders, Belgium.
As a daughter and grand-daughter of pigeon keepers I lived in the midst of it.

Growing up I had conflicting feelings about the pigeons and the atmosphere accompanying them ; the pigeons, more often than not, came first – our family life evolved around my 300-ish flying brothers and sisters.

After living abroad for some years and being able to look at this atypical world from a distance, a new form of curiosity emerged and together with a colleague photographer and friend we dove right into the pigeon racing world during the summer of 2014.

This is a selection of images I contributed to the project.

. Stay Rockaway Beach, 2015, 3’01”

My first interaction with a Bolex and 16mm resulted in a short film with in-camera
montage. A dialogue with a place where I found refuge while living in the city that never sleeps. Stay Rockaway Beach.

. high on youth, 2015, 3’31”

Soon after Stay Rockaway Beach, I wanted to continue working with the Bolex and this time experiment with color. Inspired by the electric energy of youth and the longing to discover oneself and the other, I created High on youth.

. verjaardag in het park, 2024, 49″ + a few legs and a ball, 2024, 16″

I made these two short films during a Bolex workshop in Brussels. While strolling around the city I was witness to a birthday party in the park and a few legs and a ball.

. a fragment of a whole, a whole fragment – trying to move together

Since a few years, I keep coming back to found footage and (personal) archival material.
I find film negatives in the streets, at flea markets and dive deep into my family’s visual archive. I scan the material and during that process, I try to discover the images as deeply and detailed as possible > by zooming in, zooming out, cropping, reframing,…
In doing so a new dimension emerges, it’s as if movement is flowing back into these fixed images.

Could this process revive the movement of memories, captured moments of the past?
Can it allow us to relive it as if it were a shared experience?

Do fragments of images (re)-evoke the sensorial? And if so, how?

How do sequences of different fragments of a whole, write another story – allowing for renewed connection?

How to examine the tension field between a fragment and the whole it’s part of?
How do we create a dialogue with a past that is not ours?

The visual material below shows different angles I am exploring for this ongoing research.

>moeke
as a way of trying to (re)connect with my grandmother, I explore sequences of detailed fragments of a photo, and try to let movement (re)emerge.

>sequence of a stranger
exploration of fragment-sequences with found footage images.
witnessing memories of people I didn’t know existed.

>flashback not found
with this series I try to visualise the challenge of the process of trying to access the memories of people without knowing them.