The filmic work Flint House Lizard (2019) creates a surreal microcosm in which body, nature and technology interpenetrate and influence each other. Schulze refers here to a theory of the Russian scientist and cosmist Alexander Chizhevsky (1897-1964), which states that social developments and mass movements are related to and influenced by periodic solar cycles.
Individual forms and elements from the film work are also found in the artist's drawings and textile works. Under the title Durst, the drawings refer to a natural and existential need, which can be understood both as a driving force or a a common basic need, while the printed textile works refer to a physical shell as well as cultic rituals.
On various levels, Ani Schulze addresses the question of the mythological, technological and scientific significance of the solar cycles. In their composition, the individual works form fragmentary references to a process of control as well as to the permanent negotiation with oneself and others. They continue to tell of an indeterminate force and place physical empowerment and collective action in a complex frame of reference.