Alexander Bley is a visual artist and VFX supervisor based in Berlin. He is particularly driven by class consciousness, a theme that permeates his work, including projects like Platform, currently on display on VRAL.This film, co-directed by Steffen Köhn and Johannes Büttner, uses machinima techniques and classic CGI to explore the parallels between dystopian capitalist futures and current realities. We talked with Alexander about his machinima work for Steffen Köhn and Johannes Büttner’s groundbreaking Platform.
Matteo Bittanti: Could you begin by outlining your methodology and practices as a VFX and CGI specialist? What drives your creative and technical decisions? Can you share some information about your background and upbringing?
Alexander Bley: Generally, my methodology depends on the specific tasks and the suitability of my current toolset. If my tools are inadequate, I consider what additional tools could be used, whether it's feasible to incorporate them within a reasonable timeframe, or if additional support is necessary. This decision-making process starts with clear communication about the task, understanding the vision of the directors or clients. Moodboards are particularly helpful during this phase, and I enjoy collaborating with clients or directors to develop ideas further. Any medium that helps align everyone involved, such as music, movies, games, or other pop culture references, is welcome. When production begins, I strive to have a precise understanding of the project, making animatics and similar tools invaluable. Creatively, I prefer to produce work that is not overly polished, embracing technological limitations or even “mistakes” (such as stretched textures) as a counterpoint to the highly polished digital aesthetics prevalent in the 21st century.
So, my background, let’s see... I’ve always been into visual stuff - drawing, comics, movies, computer games — but I also had an interest in technical things. That led me to study audiovisual media at Beuth College in Berlin. The program mostly focused on lens-based picture making, which didn’t quite satisfy me. So, I spent my free time in front of a computer doing tutorials and experimenting with VFX software like After Effects. My twin brother and I were raised by a working-class single mom in a town near Dortmund. Back then, Dortmund was going through a rough time due to globalization, with a lot of steel and coal jobs disappearing. I’m also half Greek, and the Greek community is the largest immigrant group where I grew up. This mix of experiences and my background has given me a strong class sensitivity, which is a big part of why I’m motivated to work on projects like Platform…
With a strong interest in both visual and technical aspects of media, Alexander Bley pursued audiovisual media studies at Beuth College. Dissatisfied with the lens-based focus of the program, he dedicated his free time to learning VFX software such as After Effects. Raised in a working-class family near Dortmund, Bley’s upbringing in a declining industrial town has significantly influenced his artistic motivation. Bley’s work spans various media, including immersive installations like Memoria, which combines ethnographic research with science fiction elements inspired by William Gibson’s Johnny Mnemonic. He has also worked on music videos, such as Nanti-Hell, employing advanced VFX techniques and facial tracking. His diverse portfolio demonstrates his ability to merge creative and technical skills across multiple platforms and genres.
This content is exclusive to Patreon subscribers. To gain full access, consider joining our vibrant community.