COLOUR FIELDS
Colour Fields is a short digital animated loop. It consists of thirteen individual layers each a distinct colour (dark red, red, pale blue, light green, teal, dark blue, light yellow, peach, light blue, pale green, purple, pink and orange). Each layer of the animation involved a series of moving and evolving lines of various sizes, which shift back and forth between marks or dots in a continuous loop.
I am fascinated by various attempts at drawing the illusions of movement inherent to the process of frame-by frame animation. This fascination stems from creating at a very early age drawings of objects by either scribbling a constant continuous line or by drawing multiple lines in succession. These drawings were as much about learning how to represent objects in space as they were studies in representing objects through movement.
Colour Feilds was part of a series of projection experimentation in an installation which uses form and light to propose new possibilities for spatializing a film experience.
Colour Feilds was part of a series of projection experimentation in an installation which uses form and light to propose new possibilities for spatializing a film experience.
Experiment no. 4: In a Hole in the Floor is the result of a series of experiments that explored the moment between frames. This in-between space in animation is the ability to see movement as it takes place. Movement in animation is created by small changes not displacements. These changes are dynamic and happen constantly. The change in animation is the active interval. It is a signifier for that which is about to happen when animating forms.
Adding movement to an already-executed pose means adding movement to something that is completed, when in fact animation should be about propelling a sense of movement that is constantly in a state of becoming. It is felt and it is experienced. When a series of animated images are placed in a sequence and looped, that process of propelled movement has the potential to occur infinitely. In animation, objects in motion span different points, instances and relations between each other. The animated object is never constant; it can shift, morph and dance in infinite space on a trajectory that is rarely stable.
Adding movement to an already-executed pose means adding movement to something that is completed, when in fact animation should be about propelling a sense of movement that is constantly in a state of becoming. It is felt and it is experienced. When a series of animated images are placed in a sequence and looped, that process of propelled movement has the potential to occur infinitely. In animation, objects in motion span different points, instances and relations between each other. The animated object is never constant; it can shift, morph and dance in infinite space on a trajectory that is rarely stable.
