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| The project that I’ve been thinking about for a long time is about how as people we sometimes feel lost and how some people have preordained lives and don’t even realize, thus, it's becomes a cycle and there is no way out of it. Sometimes realizing that might be hard and it's dangerous because one can get stuck in the cycle without ever getting out of it. I often find myself questioning the notion of this theme, it can be something we try to avoid, so I believe that delving deep into it will really make me good discover something that I haven't before. I'm trying to find these shortcut ways to visualize what I want to communicate without having to spend too much time because I don't have that luxury and that limitation might push me to be more creative with it.
| | Presenter: Steve |
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| The project that I'm currently working on investigates the notion of fatalism and how as people we sometimes feel lost and struggle to find our identity in a miniature world with an alien-like character. This character represents a part of ourselves that we constantly fight with. The short film deals with the questions of whether there is one right was to live. I am drawn to this theme as I often find myself pondering on this topic. I believe that by exploring this theme further, I will be able to I often find myself questioning the notion of this theme, thus, I believe that delving deeper into this topic will help me to study my own artistic practice in a way I haven't before. | | Art: Before I was born Tji Ling (2020) |
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| | Book: Other Minds - Peter Godfrey Smith |
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| | Annotators: Garvan & Melek |
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| In the beginning, I didn't know what artistic tools to use to communicate what's in my head, visually. First, I thought of making a short fiction film about, but I did that before and now I'm at a stage in my artistic practice where I really want to experiment with new worlds and stop animation is something that I'm very intrigued by so even though I don't know much about it I just want to dive into it and play around to see the possibilities and the opportunities. I’m compelled to work with miniature scenes and making the art direction myself in a controlled environment. My goal is to investigate this theme further through a character’s eyes, not necessarily a human, maybe an object.
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| After completing test shots, I was quite thrilled to explore the possibilities of miniature set. Art direction is quite vital to tell the story as the world represents the abandonment of humans. My previous projects were predominantly short fiction films which took away the luxury of a loose story, as opposition to how I worked before, I'm looking forward to working with a more flexible story structure. Along the way I expect to discover more and get inspired through the process as I produce my own artistic concepts and visual film language. Being able to create the world from scratch with such details gives me the an extensive artistic freedom.
| | Steve first came across to this artwork in an exhibition in Amsterdam, in the form of panorama and people were surrounded, looking at it. It had a sort of feeling of taking the viewer somewhere else. The drawing illustrates the story of the artist's family migrated to Netherlands, from China, noting the tragedies and events through the journey. The artwork is presented in the style of an old book that extends into a long drawing. On the back, there is a text relating to the drawing. |
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| | Surprisingly, painting and drawing is not like riding a bike. Steve prefers to use coloured pencils, but he got into writing, reached a plateau in painting where he was comfortable and confident with it. Paul Nobson is an artist who is known for his intricate, detailed and large scale drawings. Steve thinks it's a strange fascination and one could get lost in it or find it overwhelming. The problem with the artists is that everything they do is important.The reason I'm still drawing is that I still haven't reached the limit whereas I think Paul Nobson has. |
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| My previous projects were predominantly short fiction films which meant that I couldn't really afford the luxury of not knowing what to do, so I made sure to plan every single step. So, as opposition to how I worked before, I think it will be really interesting to go into it without a clear structure. Along the way I expect to discover more, as I produce my own artistic concepts and visual film language. In the process of bringing my ideas to life, in the beginning, I tend to have very vivid visuals in my head that I show but sometimes I don't know the meaning of them so it might be like working backwards a little. Sometimes it’s the opposite, I have ideas and I need to work with them to find ways to communicate them. I try not to force the process, rather try to make it organic because it doesn't really work that way with me. It's not realistic to feel inspired all the time, so to surrender yourself to the flow so to speak and not having that pressure really helps to be authentic.
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| | This book is called Other Minds. I learned that the plural of Octopus is nit Octopi but Octopuses and I've been correcting everyone my whole life. What's really interesting about octopuses is that they have a very different and complex nervous system, so it can relate to pragmatism. I believe that there are things that exist that are independent from my mind. Not everybody believes this. In other words, pragmatism is the idea that we are all organisms but what defines it is our nervous system and the understanding of the outside world comes from that. The skin of an octopus can see, it doesn't have one brain like us, or not located in one place. they can shape-shift and morph. What defines our perception of life is limited to pair of eyes. They live a very short life of 4 years and I have difficulty grasping how they can be this intelligent. For evolutionary reasons, they have a very solitary life. They age rapidly and when they die, they fall into bits. Aging is series of inevitable genetics defect. However, for an octopus it happens rapidly. The vast contrast between humans and octopuses is talked in the book that intrigued me. |
| I was always drawn to miniature worlds, but I was intimidated to create a work with it as it requires a lot of work, time and devotion. At this point in my artistic practice, I feel ready to experiment with new tools and focus on the journey, rather than the outcome.
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| I think the freedom of making something from scratch is going to be also with stop animation because I'm going to make the scenery by myself and build everything, all the details. There are few ways that it relates to my previous work, such as the facts that I'm telling a story through visual film language and it will have a layered story with visual motifs.
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| As opposed to my previous works, I will not be working with actors and the environment will be very controlled and I will not be relying on actor’s performances. In addition, I will have to really know the technical aspect of it whereas before I relied on crew members, so I was just focusing on directing.
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| The decision to fly to Poland where the project will happen is one of the significant choices I made, I decided that because I have a space devoted to produce this project and I have access to equipment and people who are willing to work with me on this project. I have already bought some materials to build set design.
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| I was always drawn to stop animation and had an unsatiable curiosity, but I was intimidated by it because I know how much work, time and devotion it requires. Thus, I was always hesitant towards it. Now I’m looking forward to experiment and on focus on the journey, rather than outcome. As coming here changed my mindset, I know that I will definitely learn a lot on the journey, along the way so that's the most important.
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Presenter: Steve
Art: Before I was born Tji Ling (2020)
Book: Other Minds - Peter Godfrey Smith
Annotators: Garvan & Melek
write your annotations here
Steve first came across to this artwork in an exhibition in Amsterdam, in the form of panorama and people were surrounded, looking at it. It had a sort of feeling of taking the viewer somewhere else. The drawing illustrates the story of the artist's family migrated to Netherlands, from China, noting the tragedies and events through the journey. The artwork is presented in the style of an old book that extends into a long drawing. On the back, there is a text relating to the drawing.
Surprisingly, painting and drawing is not like riding a bike. Steve prefers to use coloured pencils, but he got into writing, reached a plateau in painting where he was comfortable and confident with it. Paul Nobson is an artist who is known for his intricate, detailed and large scale drawings. Steve thinks it's a strange fascination and one could get lost in it or find it overwhelming. The problem with the artists is that everything they do is important.The reason I'm still drawing is that I still haven't reached the limit whereas I think Paul Nobson has.
This book is called Other Minds. I learned that the plural of Octopus is nit Octopi but Octopuses and I've been correcting everyone my whole life. What's really interesting about octopuses is that they have a very different and complex nervous system, so it can relate to pragmatism. I believe that there are things that exist that are independent from my mind. Not everybody believes this. In other words, pragmatism is the idea that we are all organisms but what defines it is our nervous system and the understanding of the outside world comes from that. The skin of an octopus can see, it doesn't have one brain like us, or not located in one place. they can shape-shift and morph. What defines our perception of life is limited to pair of eyes. They live a very short life of 4 years and I have difficulty grasping how they can be this intelligent. For evolutionary reasons, they have a very solitary life. They age rapidly and when they die, they fall into bits. Aging is series of inevitable genetics defect. However, for an octopus it happens rapidly. The vast contrast between humans and octopuses is talked in the book that intrigued me.
