[The following movie clips are short random sections which are highly compressed in order to post them on the web. The actual size and length is posted with the clip.
Whilst they can be shown as individual pieces in selected venues they, ideally, should be seen projected as installations where they would be looped so that the viewer could see them at their own pace and repeatedly if they wish.]
is a 35′ 50″ 3D animation made in 2006.
“luxflux”, as the title denotes, consists of a series of virtual animated environments lit by changing light sources. Some are lit by white light whilst others lights are coloured. The lights describe the environments as well as being perceived as forms themselves.
Size 960 x 720 PAL
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a 12′ 34″ 3D animation completed in 2006.
Sound: Ian Willcock
A complex abstract form, at once metallic and machined yet also disturbingly organic (particularly in the multiple profiles it presents to the viewer), moves purposefully within a three dimensional reflective environment. This is not an empty environment, rather the whole piece is ominous, populated with objects unseen except through their reflections. We have a sense of being in a corner, perhaps a temporarily safe corner, of a much larger world extending in all directions from the one we are observing.
The ‘action’ involves the interplay and penetration by the object with/of the defining limits of the environment; with highly reflective, yet paradoxically fluid representations of the way conventional (and virtual) space is mapped and bounded. As the object immerses itself in the fabric of dimensionality, it questions and tests the concepts of empirical, measured certainty; it exposes the essential propensity for liminality in even the most stable of systems. That there is a feeling that at any moment the out-side could in-trude is perhaps only to be expected… I. W.
Size 1280 x 720 HD
The visual structure of “rorrim” consists of two separately made images which, when combined, give the illusion of an abstract landscape and it’s reflection. The viewer, through their own associative references, makes links which give a cohesion to the otherwise separate elements. “rorrim” inhabits the liminal space between representation and recognition; it is an interior drama of revelation and reflection in which the viewer sees only their own constructing (and constructed) gaze rather than the visual surface behind which such processes ae normally hidden from conscious view. The soundtrack reflects this interiority; most events are placed in the centre of the stereo range – as if they are emanating from within the viewer’s head. They are perhaps the accompaniment to contemplation rather than adjuncts of the graphic phenomena. This short extract is from the first section of the seamless triptych.
PAL 4:3 720 x 576 Length 24 mins. 51 secs. 2006
this movie is different in so much as the sound is provided live as a performance by
Broken Consort.
Mark Wastell • Tam Tam and Rhodri Davies • harp, electronics.
The animation contains six sections with 5 second breaks in between making a total running time of 54 minutes – it is quite slow.
A programme would typically contain another of my animations and also a solo performance by Broken Consort.
To book a performance contact Rhodri Davies – rhodrijd@yahoo.co.uk or me via the contact section on the opening page of this site.
PAL 720 x 576. 2004
this is a 13′ 59″ movie completed in 2007.
This piece combines 3D animation with digital video footage and can be seen as a representation of part of a long journey where the traveler falls in and out of dreamlike states – where normal consciousness is replaced by fantasy.
Original size 720 x 576 PAL 4:3
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is a 13′ 42″ 3D digital animation made in 2004.
Is a collaboration between myself and the writer Brian Marley.
Andrew:
The visual theme of Unnatural Order is based on an imagining of the sea in Stanislaw Lem’s Solaris, a novel I read some thirty years ago. This example of xenobiology came vividly to mind while I was creating the animation for the movie.
See: wiki – Xenobiology
As the camera hovers voyeuristically and pans across the surface, sounds and sentences sporadically emerge. This gradual evolution is deceptive. Quite often, very little seems to be happening, but if you look away for a moment then return to the movie much will have changed.
Brian:
Humans modify their surroundings to suit themselves and modify themselves to suit their surroundings. This has been going on for almost five million years. We’re close to finishing the project – making the world a product of our imagination. The benefits are obvious. But there are considerable disbenefits, too.
Original size: 720 x 576 PAL 4:3 13′ 42″ 2004.
Abstract forms traverse an organic terrain with sensual connotations
Sound Ian Willcock
Original size 640 x 480 PAL 8′ 14″ 2001
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This piece was originally shot in DV format and is created photographically not virtually.
The visual element of “blind” plays on the tension of seeing and yet not seeing; teasing the eye with glimpses rather than a full informative view.
Sound Ian Willcock.
It is a layered collage offering a tantalising audio insight to the visual content.
Original 720 x 576 PAL 4:3 10 min 17 secs 2003
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is a 6′ 43″ 3D animated movie made in 2002.
The subject is my response to September 11 and is a reminder that not all tragedies have to be spectacular; often subtle happenings can and do change our lives in radical ways.
Sound Ian Willcock
Size 640 x 480PAL
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“crossfly” was my second digital animation made in 1999. It consists of three short sections with Ian Willcock composing the sonic element. The short clip is from part two of the sequence. This version is 720 x 576 pixels (converted from an original square format) and is 9 mins. 44 secs. long.