Claudia Tazza

La Vida is a music video built on a single precise visual premise: that the imagined world and the real world can occupy the same frame simultaneously — not as special effect, not as fantasy sequence, but as a continuous condition of living with longing.

The song was recorded during Covid. The artist’s vision was to dream away from the place he was confined to — a Swedish suburb, a domestic interior, a life held still by circumstance — toward somewhere else. Somewhere warmer. Somewhere freer. The flight ticket in the opening frames reads ARN to PRN. Stockholm to Pristina. The longing is specific, not generic. And beneath it runs something deeper: the dream of the person who grows up without resources, who imagines what success and freedom and ease might feel like from the outside looking in.

The visual solution was a hand-illustrated dreamworld layered directly onto filmed reality. The two worlds don’t alternate — they coexist. In the same frame, at the same moment, the real and the imagined share space. The artist sits at the edge of a real concrete pool; the water beneath him glows illustrated turquoise. He drives through a real Swedish suburb; through the car window, an illustrated LA-style cityscape rolls past. He holds a real glass; an illustrated version of it, luminous and idealized, is traced exactly over his hand.

Each scene was approached individually with its own moodboard and visual logic — the smoke cloud that forms around his face as a thought taking shape, the animated portrait hanging on the wall of his real room, the illustrated woman who exists only in the imagined register. The consistency is not in a single repeated technique but in the sustained discipline of the concept: at every moment, dream and reality are in conversation.

The role was hybrid and production-embedded: present on set to shape camera angles toward what the animation would need, then receiving the edited cut and mapping the entire illustrated world scene by scene across a month of intensive work.