Approach to Animation and Film

December 7th, 2010

Way to approach my animations and films as how I would a painting. Recently I’ve stepped back and have been reading quite a bit of theory and relationships to the image. To create photos as paintings. Reworking and abstracting them. Then using other photo-stills as inspirations. Francis Bacon has been a large influence because of his method of reworking compositions and spaces. The language of mark-making is great. William deKooning again another inspiration because of his style of representational thinking. Reworking on the same surface over and over. “Catastrophic to then somehow creating order”.

What the world would be like if the world was flattened into 20 surfaces. Moved on to making a pixelation animation using dresses. Then instead of a developed long exposure approach to prints in an attempt to “paint” using multiple stills layered on top of one another. Somehow making films into paintings.

Critique:
Lloyd Lowe, Jr. “The prints having the motion blurs are much more intriguing them the animation. The movements of the objects are mysterious and being intriguing.”

Kim Llerena: “Do you foresee a narrative or longer piece of experimentation? Why the dresses?”

Meg Rorison: Dresses just served as a vehicle, not a story.”

John McNeil: “Your practice of actually painting should be included? Somehow fulfill your need for the connection to the process?”

Will Knipscher: “I enjoy the video’s ability to capture the change in light, it becomes over-powering.”

Meg Rorison: “How time is represented is always a concern. Either time-lapse or long-exposure are different methods to show that, and how that time is experienced as well.”

Miranda Lichtenstein: “Content can’t be overlooked. The theatricality is interesting and should be talked about. At least as social content. The female form in a period dress, in a contemporary video setting. What does it mean? The animation (short) is to develop a sort of relationship. Watching it looped seems to signify that.”

Meg Rorison: “I always just start with the figure even as a painter. The potential energy and psychological aspect. I might use myself as the figure or another person to model.”

Timothy Druckrey: “The Perfect Medium: Photography and the Occult” (An exhibition of this was at the MET around 2005) “What is the status of photography in relation to the spiritual world? The fleetingness is the most intriguing effect. The choppy framing editing, exposure of the light changing. There are other ways to realize the print without having to print it. Is there an animation with long exposures? Can the optical media record the uncanny? Bacon’s interest in the ephemeral needs to be taken into account and your work should aim to make an animation out of the long-exposure images.”

Recommendations:
Sam Jury – Creates video work about performances in abstract landscapes.