- State: visible
|
Absolut Panushka, Jan-Apr 1997.
New York Nexus
Paul Glabicki and David Ehrlich both make hand-drawn abstract animations, though very different in style. Glabicki's are characterized by complex collages of shapes in separate motions, while Ehrlich's are geometric puzzles with a looser graphic line. Ehrlich has also worked with 3-D holographic animation. Jane Aaron and Al Jarnow both use time-lapse filming with some integrated drawn elements, but again in very personal styles. Aaron observes and simulates the passing of time in landscapes and rooms (Travelling Light), while Jarnow works with the natural variations in seashells and performs himself in the time-lapse of Incidence of the Northern Moon. George Griffin uses highly stylized characters -- a simple square may serve as a head -- which often seem to represent deep personal concerns, most obviously in the half-hour Lineage. Griffin also publishes flip-books and edited Frames, a 1978 anthology of independent animators. Suzan Pitt renders a woman's sexual fantasies in vivid colors and sharply defined shapes (cel animation) in her 1978 film Asparagus. Maureen Selwood's lovely 1981 film Odalisque also gives visual form to a woman's fantasies and thoughts, in a gracious graphic style. Karen Aqua, a Rhode Island School of Design graduate, studied African dance extensively and applies that wisdom to the richly colored, ethnically styled rhythms of a film like Kakania. And in addition to a great deal of commercial work, New Yorker John Canemaker has produced a number of personal films, including the 1978 Confessions of a Stardreamer, an interview with an actress, illustrated with fluid line caricature and metamorphosis. He went on to create Bottom's Dream, based on works by William Shakespeare and Felix Mendelssohn. Moritz, William. "History of Experimental Animation." Website. Absolut Panushka, curated by Christine Panushka. (Jan-Apr 1997). |
