Painting from interstitial, mixed media on paper, acrylic, silkscreen, ink, pen / 10.8 m × 1 m (35.4 ft × 3.3 ft)
I am a painter and experimental filmmaker, explores the intersection of experimental film, animation and painting. Many of my films combine several painting, drawing, printmaking, and traditional animation techniques; along with digital processing, miniDV, Super-8 and 35mm film photography to weave together a narrative thread about the human condition. The main part of his filmmaking is stop-motion painting. Originally painted on large canvases I use the techniques above to change and morph the scene.
Stop-motion animated paintings originally painted on large canvases is the main feature of my filmmaking style. Interstitial (2017), which won the Grand Jury Prize for Animated Short Film at the 22nd Slamdance Film Festival is a stop-motion painted animated film originally painted on a 10.8m by 1m wide paper canvas. I create paintings in which time has a linear progression, and inherently creates animation within these materials. The movement of time in the moving image is substituted in the painting by the physical movement of the viewer’s body, and at the same time, all time within the moving image is stored within a single space inside the painting.
The audience of my film can see that the space in the film actually exists in the real paintings. The texture of the painting in the film implies the painter behind the camera. Painting as an action contains violence. The traces of movement still remain when painting violently or rapidly. The past scars that remain on the canvas are covered by new paint, and then hidden, forgot, or suffocated under layers and layers of paint. The paint dries up, and it is painted over again. The layers of paints represent a texture of time. The texture and brush strokes represent the painter beyond the story. There is a metafictional relation between story and process.
The audience of my film can see that the space in the film actually exists in the real paintings. The texture of the painting in the film implies the painter behind the camera. Painting as an action contains violence. The traces of movement still remain when painting violently or rapidly. The past scars that remain on the canvas are covered by new paint, and then hidden, forgot, or suffocated under layers and layers of paint. The paint dries up, and it is painted over again. The layers of paints represent a texture of time. The texture and brush strokes represent the painter beyond the story. There is a metafictional relation between story and process.
Painting from interstitial, 10.8 m × 1 m (35.4 ft × 3.3 ft)
Painting from interstitial, 10.8 m × 1 m (35.4 ft × 3.3 ft)
Stop-motion painting for interstitial, shot 138 from 983
Stop-motion painting for interstitial, shot 293 from 983
Stop-motion painting for interstitial, shot 421 from 983
Stop-motion painting for interstitial, shot 541 from 983
Stop-motion painting for interstitial, shot 939 from 983