5.12.11

My experimental animations makes computers and construction best friends forever, through merging analog and digital representations of 3D. This, in turn, makes me a digital circus performer: the tightrope walker hovering constantly between digital commercial mastery and embracing the endangered analog fine art la la land.

My animated narratives project an emergence of fantastical artwork that grounds the viewer in another type of reality, engaging them in belief suspension. I do this by creating an extention of my own mental existence. I submerge the viewer inside it, forcing them to escape from their own perceived reality and become trapped in mine. I want them to love my narrative animations the way that the kidnapped love their captor: creative Stockholm syndrome style.

I weave magical threads of feminine culture, 1980’s childhood references, fetishes, and revisited folklore into a digital yet craftacularly timeless limbo. Inserted in these glitterfied, neon narrative tapestries are folkloric functions - combining the crafted essence of the male and female while inserting suggestive yet silent sexual symbolisms. These silent subliminals hide under a saturated ocean tide, masquerading as a child-like fantastical facade. Underneath the murky layer of faux-face value hides our animalistic need for nature’s connections. This desire rearing its roaring head in chthonic ways while leaving Apollonian high-brained tendencies behind through the use of something perverse, sexual yet a-sexual, and somewhat disturbing...

I use this crafted clusterfuck of imagery, combined with my exposure to our new digital lives, to give analog work the highest HD cinematic facsimile. However, when we get to brass tacks, it’s just a bunch of stop motion animated pipe-cleaners photographed with the best camera I can get my hands on. By the time I can finish and upload to YouTube, the world has moved on to a bigger, better, higher megapixel, camera. Whatever high - tech thing I considered a masterpiece was last months magic.

So, in turn, I ask myself: “What would a third grader do?” This is my problem solving strategy. With this in mind I can coat the world in some low-fi yet hi-fi glittery aesthetic, using my borrowing techniques: stealing from now vintage nostalgic media, digital folkloric late-90’s white trash glitter graphics, and stop motion rebirth.