Orogenesis

Bizarre abstract stop-motion animation questioning traditional values in a period of great social upheaval.

Sixteen 'objects', each consisting of one hundred points of light, perform a series of precisely choreographed rhythmic transformations. Accompanied by the sound of a Shakuhachi (the Japanese bamboo flute), the film is an exercise in the visual perception of motion and mathematical structure.

Enigma is something of a more glamorous version of White Hole, with a wide variety of elaborate textures (often composed of iconographic and religious symbols) converging towards the centre of the screen.

D'art moderne

Torn from their home by a hand in the sky, colorful entities seek freedom from a rigid binary in this short experimental animation.

Peter Larsson’s Keyhole Conversation draws the eye down to the small gate of the camera. From there, through quivering and percussive forms of direct and stop-motion animation, the eye begins to experience the scale of an image anew. At times segueing into a flicker, but maintaining a charmed form of attention to the marks of pencils and the channels dredged in emulsion by a paintbrush, all to a curious soundtrack of pulses and bleeps.

A mathematical play on one repeated movement. It imparts a sense of possibilities: that something simple can produce complex and unexpected patterns. As with an atom, the variety of possibilities from a base movement is potentially infinite.

A film about uncanny valleys and the space between. Painted 16mm film undergoes a monstrous transformation becoming neither analog nor digital.

An abstract computer-generated film. The image is of squares revolving in space around and through each other. Colors and forms multiply and divide against a beautiful symphonic score by George Kleinsinger.

Burr creates a slow, liminal illusion in black-and-white, switching perspectives and matrices and crescendo-ing in time with Christopher Doulgeris’ portentously pulsating soundtrack.

Animated work detailing the unrequited love that a line has for a dot, and the heartbreak that results due to the dot's feelings for a lively squiggle.

An attempt at “total art” performed during the 2020 lockdown.

These are work-in-progress elements of various commercial projects and a film to be titled Knotte Grosse. Beckett received an AFI Independent Filmmakers grant to produce Knotte Grosse, but it was unfinished at the time of his death. The images allude to computer-generated graphics (but are not) and foreshadow an interesting direction in his work.

Mamori transports us into a black-and-white universe of fluid shapes, dappled and striated with shadows and light, where the texture of the visuals and of the celluloid itself have been transformed through the filmmaker’s artistry. The raw material of images and sounds was captured in the Amazon rainforest by filmmaker Karl Lemieux and avant-garde composer Francisco López, a specialist in field recordings. Re-filming the photographs on 16 mm stock, then developing the film stock itself and digitally editing the whole, Lemieux transmutes the raw images and accompanying sounds into an intense sensory experience at the outer limits of representation and abstraction. Fragmented musical phrases filter through the soundtrack, evoking in our imagination the clamour of the tropical rainforest in this remote Amazonian location called Mamori.

An abstract animated film inspired by the work of jazz musician Chico Hamilton.

Three books: a film festival catalogue, a dictionary, the Bible. Three works whose materiality has become obsolete by the digital dematerialization. A commentary on the fragility of culture.

The weird hand creatures undergo different transformations in synchrony with the music.

In the darkness of a cave, one man who had never seen even his own figure found a hollow flooded with light. An expression of a chaotic world. This experimental graduation film is a mixture of different animation techniques

Abstract animation by Young-jae Shin

Len Lye usually timed his films with great care to match their soundtracks, but for All Souls Carnival, he and composer Henry Brant worked separately, preferring to see if the score and visual track would synchronise by chance. Lye also experimented with a new Direct Film technique, drenching the filmstrip in colourful paint and marker pen.