I made this video of incomplete CGI to compliment Misty Conditions’ style of ‘severely damaged’ and ‘fractured’ trap. I wanted the keep the action and any synchronization with the music largely in the background while the foreground elements linger as I intentionally skip edits and hold shots for longer than is perhaps comfortable for an electronica music video. I was inspired by Godard’s rubbish dump aesthetic and feel that the video should perhaps begin with his disclaimer, “this film was found in a rubbish dump”, as I like to this of this piece as electronic post consumer waste found abandoned on the internet. It’s elements are assembled second hand and held together with nails to form a psychedelic collage rather than a sting of highly finessed montages.
“The video adds another dimension to the already psychedelic production, combining swirling backgrounds with animated, headless bodies that seem to be running through an endless landscape. It’s the kind of visual accompaniment that could offer little more than what’s plainly visible, or, with the right mindset, could seem to offer layers of cloudy meaning to explore.”Leo Maymind of XLR8R Magazine
The animation of Don Hertzfeldt was created with a mindset that exists outside the walls of the animation mainstream. Gone are Pixar’s quirky utopian princesses and Cigraph’s cutting edge algorithms that create photo-realistic fur. Hertzfeldt’s stories and animation style are simultaneously esoteric and full of mass appeal. His films scrutinise the mainstream animation industry as well as highlighting the banality of modern existence by using well-judged humour, a finely tuned animation skill set and a great sense of poetry.
I recently made this ultra compressed, post industrial music video to promote Walton’s new album, Beyond, out now on Hyperdub.
To compliment Walton’s grimy sound on this track, the video displays fetishistic machinery, broken computer generated fluid simulations and dislocated body parts revolving as if on display in some terrible VFX showreel. It feels much more akin to my older work as it is noisiest video I’ve made for a while, however, it does represent my current fascination with the medium that I began to explore in my first CGI video, Henry’s Girl is a Computer.
Tim Gentles wrote an excellent summary of the video and Walton’s track for XLR8 magazine, where he describes “…mechanical imagery, such as pistons monotonously working, with ominous visuals of human skeletons and oil droplets spilling, all rendered in gloriously cruddy CGI”.
I have updated my showreel to include some of favourite work from the end of 2012 and 2013. With the edit, I have decided treat the reel as a piece rather than a reference document and I’ve focused on my experience as a director rather than focusing on a specific animation or filmmaking technical skills. I produced, directed, modeled, animated and edited all of shots and assets therein.
At the PAN showcase in Bristol’s Centre for Contemporary Arts, the Arnolfini, the noise/dance crossover is in full effect. After a bout of silence from the noise scene and decreased activity in pop-up tape labels, gradually there has been a exodus of noise artists (or are they now producers?) creating abstract music with the structural and genre conventions of contemporary dancefloor orientated electronica. The music at the PAN showcase is not ground breaking by any means, but what is significantly different is the situation in which the music is received. A floor show, in an art centre, featuring artists form a noise label who’ve recently been making waves with jungle mixtapes; it’s no wonder the audience’s expectations are skewed from the outset.
Animated Exeter 2013 has chosen to open this year’s festival with what might seem like an unusual choice of films. RAY HARRYHAUSEN: SPECIAL EFFECTS TITAN is a detailed and engaging insight into the career of the most influential special effects artist and stop motion animator in motion picture history. The film doesn’t deal with the type of hyper real animation you might expect to be canonised in an animation festival. Instead it focuses on the wider influence of the animation industry, and reminds us of the central role it plays in contemporary mainstream cinema. Continue reading →
As its Surrealist title suggests, 971 HORSES + 4 ZEBRAS is a dazzling and confounding compilation of animations and experimental films co-curated by featured artists Jordan Baseman and Gary Thomas of Animate Projects. Continue reading →