During the last two years, I have had the opportunity to collaborate with regional activist groups on projects related to the ongoing genocide in Gaza. I am particularly proud of two animated videos that represent my skills and interests very well.
Video 1: ICC's decision and what it means for Germany
The first video deals with ICC's decision to issue arrest warrants for Israeli officials, its effects on German politics and the country's reputation in the international arena. Finding an adequate visual language meant making sure the following criteria were met:
- art direction must be suitable to the topic at hand;
- has to convey data, facts and concepts equally well;
- has to be appealing and dynamic enough to maintain attention and focus throughout the whole video.
- has to convey data, facts and concepts equally well;
- has to be appealing and dynamic enough to maintain attention and focus throughout the whole video.
That resulted in a visual toolkit with standardized layouts for presenting numerical data, dates, quotes, as well as illustrated assets that depict places, institutions and abstract concepts (international law, travel, sanctions, vetoes).
The design was created in Figma and Adobe Illustrator, then animated in After Effects.
Parts of the visual toolbox
Video 2: Where is Dr. Hussam Abu Safiya?
As Israel abducted and illegally detained Dr. Hussam Abu Safiya, there was little to no coverage of the case in German media. This video presents a timeline of events, as well as context on the doctor’s achievements and the significance of his work and presence in Gaza.
The goal was to build on existing core visuals and the established color palette while exploring expressive illustrations to visually support the script. The emphasis is placed on environments, people, and events in order to engage the viewer on an emotional and human level.
Expanded illustration set
Video 3: Global Sumud Flotilla protest coverage
I documented the preparation and the support march for the Global Sumud Flotilla in Mannheim, Germany, in October 2025.
Shot on a Sony Alpha A7III, edited and color-corrected in Adobe Premiere.