Embedded Files
An Independently Made Experimental Short Film & Exhibition
11 ~ 11 ~ 2023
11 ~ 11 ~ 2023
Once the story was animated, I decided that the way to bringthis illusion of movement on the screen into reality, was toincorporate the physical, individually lifeless cels, into theirown unique works. The panel scene (Scene II - ReShape), lentitself to its' own display, but the scratch film (Scene III -ReTension) would show its true colors hung and illuminated.Half of the watercolors were woven and strung, and the resttorn apart and reassembled in 3-D collages breaking thesurface to reach out into the space.
Scene I ~ ReSurface
2023
Watercolor on paper, paintings on wood panel
When determining where to start my short story, I began with water – the stuff of life. Life manifests from the water, just as I put paint to white paper. The rain gives way to fluid life forms that dance across the screen in a careful choreography depicting qualities of attraction, division, and separation.
The physical depiction of the scene is a collage made up ofactual animated paintings. Arms reach out over the void of drops, reinforcing the theme of attraction.
The physical depiction of the scene is a collage made up ofactual animated paintings. Arms reach out over the void of drops, reinforcing the theme of attraction.
Scene II ~ ReShape
2023
Acrylic on wood panel
In the panel sequence, I wanted to depict the inertia and power of water. The “nodes” fall from the sky, crashing into the twilight Earth. Their wake washes across the panel and steadies to a stream where their “energies” gather. Their distillation into treads of energy and subsequent anonymity, coalesces into one eye that opens, closes, and opens again to direct us to the next scene. The completed animation takes its final form as the painting displayed, marking the end of thefirst act.
Scene III ~ ReTension
2023
Acrylic and ink on Rubylith®
Seen here, is my experimentation and application of direct animation on “film”. The film consists of two main layers: the timing layer consists of a background made up of transparent colors and textures. This allowed me to time the opaque rotoscoped layer to the music, creating a jarring, syncopated visual cadence. The rotoscoped layer depicts figures mapped to movements of fighting, dueling, and other martial arts. I chose these movements specifically for their duality. These are practices of discipline, and a means to learn how to control and synchronize the body with the mind. However, these actions, when driven by emotion or without restraint, are expressions of violence, thus depicting the destructive quality of touch.
The physical work is the bespoke 35mm film displayed on an acrylic panel, allowing light to pass through like the work of animator, Paul Sharitis. The panel is “read” top-down, left to right.
The physical work is the bespoke 35mm film displayed on an acrylic panel, allowing light to pass through like the work of animator, Paul Sharitis. The panel is “read” top-down, left to right.
Scene IV ~ ReBorn
2023
Watercolor on paper, paintings on wood panel
Scene IV is the climax of the animation. I used celestial imagery like pulsing black holes, turbulent event horizons, and the raging sun to tap into something larger than what is fathomable – something a magnitude greater than the fieldnotes book in which they were painted. We witness a black spot breathe and beat rapidly and see the aggression of the last scene dissipate to light. We interact with a field of light imagined through solar flares and are launched from the sun’s gravity, only to turn and face an explosion of light. Rising from the light is a single bird, radiating with light and color, taking off into space. The creature melds into the nodes reborn, that rejoin to create a final wake of light.
The physical work is an opposing parallel collage to Scene I, depicting a state of repulsion. The flares project from the black like eyelids of a wide-open eye. It sees but cannot feel anything, but the emptiness rendered as the pupil.
The physical work is an opposing parallel collage to Scene I, depicting a state of repulsion. The flares project from the black like eyelids of a wide-open eye. It sees but cannot feel anything, but the emptiness rendered as the pupil.
The Installation
The Installation
This was the first installation mock-up for critique
The space is designed to immerse the viewer with the physical attributes of the work. I felt he over arching theme of touch required feedback with the space.
The composition of the space also takes into account the projection of the film and the reflected light that diffuses into the space. The streamers hanging from the ceiling are left over paintings that were not turned into collageare the first iteration.
The composition of the space also takes into account the projection of the film and the reflected light that diffuses into the space. The streamers hanging from the ceiling are left over paintings that were not turned into collageare the first iteration.
Page updated
Google Sites
Report abuse