December 11, 2013
Nothing spectacular to report from the art front, only that I tried the two new Sallies within the sequence and it looks like they will be alright. To know for sure of course I would have to fire them first and see if they live and right now they are a little bigger than the other ones.
Here they are within the preceding and the following ones:
Josiane Keller “new Sallie #9 and #10 in sequence” (2013)
Next is either the earthworm sequence or the swing sequence. The swing clip is being shot outdoors and there is snow now, which is not good. I can review the old footage I took in autumn and see if I can use it, that would be perfect…
Josiane Keller “mini swing footage 1″ (2013)
And upon reviewing the swing footage I notice it is beautiful gorgeous color, great movements and unfortunately wrong camera position so it makes the swing look small. Obviously the swing IS small, so the point is making it look big.
December 10, 2013
I finished last night the fetus Eileen-film sequence for “I anyways live until I die” and sent it to a couple of friends to test-watch, and then watched it in context with “The Whale” which is the last in the project out of sex, I think now “The Fetus” will be the second, so far for lineal story-telling.
And of course, although I am really happy with the “The Fetus” in juxtaposition “The Whale” seems to need some adjustments. Oh dear, “The Whale” is really a whale of a project! I am very happy with the very loud sound of “The Fetus”, as annoying as it is, it is very important in contrast to the image of a fragile human baby in the womb, so I was a little experimenting, once more, with the sound of “The Whale” today, but basically I think I will have to go over it all when all sxi sequences are completed and ready to be connected.
Somewhat frustrating, but that is the nature of the medium. Animation is like chemistry, if you put A+B together you may end up with AB, but if then you add C you will not necessary get ABC, but D.
I really loved the “Naturally Obsessed” film http://www.naturallyobsessed.com/ , where one of the scientist said in the special features “In science, if it is doable it is probably not worthwhile doing, but if it is worthwhile doing it is probably not doable”, in art the same applies.
You can watch for example this clip here, which will lead you to others, but basically it is best to simply watch the whole thing inclusive special features: https://www.youtube.com/watch?v=I7zIRl0quLw
Step by step hopefully I will get some decent results.
Meanwhile I am finally finishing the last Sallie #10 with her broken legs.
Josiane Keller “Sallie #10 redone” (2013)
And….finished. At last, something like that. I am not sure if it will work but it looks like it could. In fact the old “Sallie #10″ has a little jump on her left hind leg, so maybe this one fits better. We will see, but for now it is, again, good night!
Casey Jenkins’ vaginal knitting “Casting Off My Womb”, Carolee Schneemann “Interior Scroll”, animation “The Fetus, ultrasound and in the womb” is complete with sound and up for viewing, Jan Svankmajer’s “Do pivnice / Down to the cellar” (1983) and finishing re-doing Sallie #10 – tomorrow!
December 9, 2013
Josiane Keller “now, then and now” (2011)
A sculpture in the making in Kyoto 2011, a couple of weeks prior to the great earthquake and tsunami and connected accident in atomic plant Fukushima Daiichi. Women, women everywhere.
She’s all the rage right now, so of course also here: Casey Jenkins, vaginal knitter and performer/craftinist from Melbourne, AU. And rightfully so, guys and girls, she truly is lovely! Such a nice girl!
Watch her knit here her perfomance “Casting Off My Womb” at DVAA (the Darwin Visual Arts Association) http://www.dvaa.net.au/
here is her website:
Mark Burban “Casey Jenkins” (2013)
and here would be one out of many nice articles on her knitting piece:
It definitely reminds of Carolee Schneemann’s “Interior Scroll” (1975), but an essential difference is to me that the act of knitting is domesticated and has a feel of comfort and cosines to it, an air of sitting in a soft arm chair with a sleeping kitten next to it producing articles like mittens and baby jackets for the beloved family. The feminist performers of the 70′s and 80′s all seem to give off to me an energy of anger, rebellion and attack, whist Casey Jenkins’ work is peaceful and knitting an ongoing scarf seems more like she is concentrating entirely on her own body without sacrificing it or a product of it which could be taking on the role of a mother and homemaker, to anyone else.
Carolee Schneemann “Interior Scroll” (1975)
And further, my own piece, animation “The Fetus, ultrasound and in the womb”, another sequence for “I anyways live until I die” is completed, after a wild goose chase to come up with a decent soundtrack. I finally went to the basement…
Josiane Keller ”washer and dryer” (2013)
This is arguably the dirtiest cellar I have ever seen. Just because it reminds me and it’s so brilliant, watch here Svankmajer’s “Do pivnice / Down to the cellar” (1983):
Back to my own work, here is the still that is the thumbnail:
Josiane Keller “I anyways live until I die – The Fetus, ultrasound and in the womb” (2013)
*My wonderful friend Yasuo Imai saw the film and said the following, which I thought is such a great comment I want to post it here:
“I think that womb is very significant to depict our state of being. It positions in between of this world and the other world. (…)”
I should finish the last broken Sallie that needs redoing, but honestly I am way too tired and that’s it for today. Tomorrow!!! Good night!
A video on being at home in your body with over 100 people modelling nude and Diane Arbus’ nudist colony photographs and more notes on censorship for comfort-zone reasons
December 8, 2013
The watching frenzy has a little bit worn off, but still the original post is by far getting the most views. I am thinking it made it somehow onto a different site that advertises this BLOG, and a little inner voice tells me that this site is not generally about art.
So I checked further and somehow there is a connection to the topic “nudism” on REDDIT. Where I came across this very fitting and also delightful video about body an dnudity and feeling at home in one’s body:
Well, I although thought “nudism” is when tons of people go topless to a beach colony, or Diane Arbus’ pictures of people in a nudist colony:
Diane Arbus “A family one evening in a nudist camp” (1965)
Here is her official site, although it does not show many pictures at all, and not the really interesting ones either (who made that site? I assume her family/ Diane Arbus Estate, but still they could have done better…): http://diane-arbus-photography.com/
… and as it turns out I am not alone with that thought, see what wiki has to say:
“After Arbus’s death, her daughter Doon managed Arbus’s estate. She forbade examination of Arbus’s correspondence and often denied permission for exhibition or reproduction of Arbus’s photographs. The editors of an academic journal published a two-page complaint in 1993 about the estate’s control over Arbus’s images and its attempt to censor part of an article about Arbus. As of 2000, the estate would not release Arbus’s 1957–1965 images of transvestites. A 2005 article called the estate’s allowing the British press to reproduce only fifteen photographs an attempt to “control criticism and debate”. The estate was also criticized in 2008 for minimizing Arbus’s early commercial work.”
here is the link to wiki: http://en.wikipedia.org/wiki/Diane_Arbus
Hmm, lots of room for thought. So even there is a danger of children of photographer’s who take potentially controversial pictures, are being so traumatized that they suppress the publication of them?
There is a documentary you can see on youtube, narrated by her daughter Doon:
*BRIEF INTERLUDE: Boy, do I get spam, from all over the world, but mostly for some reasons for various shoe-wear. Why shoes? Although I research every day in theory and praxis and do not shy away from any hardship to find answers I still know so little about the world I’m living in…!
Lust, Life and Fear – especially Fear, more questions on nude modelling, remaking one of two broken Sallies, the interchangeabilty between artist life and scientist life and still no sound recording for Eileen
December 7, 2013
Josiane Keller “Man with recyclable shopping bag” (2013)
More interesting twists come up with the project “Lust, Life and Fear”. The Mungo is contemplating if it would be good or bad if people i.e. at his workplace come across his nude picture. There are apparently people who have nothing else to do that look for opportunities to bully (we all know the type) and that links to old barely if at all teenage worries we also probably all share, no matter how good looking we might be.
Irony has it that, let me tell you this, at his workplace he is the only man with let’s start a healthy weight, and YES YES YES that has certainly a connection to aesthetics, no matter what you will try to tell me now.
And further: YES, IT IS IMPORTANT for us to be good looking in the eyes of society around us. Thank God, think it through!
But it seems he is not really sure on which side of the fence he is standing right now on this day at this age.
So I proposed to post this image on facebook to a humble small and deliberately personal audience and simply ask.
So the question is: is this a handsome man or not? Let’s find out what people think. (Let’s also find out how people will behave!)
Meanwhile I have to re-make two Sallies that got broken during the bisque firing and that I will need for a sequence in “I anyways live until I die”. Here is on of them, #9:
Josiane Keller “re-doing Sallie #9″ (2013)
Josiane Keller “new Sallie #9″ (2013)
So the problem is as it is the point of an animated motion to get the position exactly right so she fits smoothly in the sequence. This looks like it could work, but I will only be able to see for sure when she is dried and of course then she still has to go through firing.
Whilst re-doing Sallie #9, which is tedious, I was watching a PBS documentary on PhD candidate scientist and their daily troubles. I am telling you: every single thing they mentioned in this documentary applies word for word also to an artist life:
So far no chance to record Eileen’s sound, hopefully tomorrow.
More nude modelling in days of the internet – nude nude nude! – touch touch touch and Jan Svankmajer’s “Spiklenci Slasti”
December 6, 2013
Welcome! Herzlich Willkommen! ようこそ! Добро пожаловать! ברוכים הבאים! Welkom! Tervetuloa! Üdvözöljük! Witamy! Välkomna! Vítejte! 歡迎 ! ยินดีต้อนรับ ! Καλώς ήρθατε! Velkomin! Sveiki atvykę! Velkommen! Добродошли! Benvenuto! ¡Bienvenido! Bienvenue!
In the likely case you have never before been here, that is: read my BLOG or checked other parts on my site, let me quickly introduce myself with an image:
Josiane Keller “Animator” (2013)
Josiane Keller “VIEW ALSO MY OTHER ARTWORK” (2013)
Yes, that’s right. The direct link to my ANIMATION for instance would be right here:
Or to my (recent) photography/ceramic projects here:
Don’t forget my CV, that would be here:
And so on.
On December 3rd I put some nude photographs up on my site, honestly, I couldn’t even tell you anymore why exactly it came to that although it is now only 3 days ago. Generally I am writing this BLOG along the work I am doing, and I am an artist. I also occasionally work as a model for other artists, which is generally nude. It comes with the job and despite the general myth outside art circles it usually has nothing to do with sex (hang on, I mean, it depends, alright, let’s move forwards for time being….), but more with closely looking at dimensions, angles and light effects. So I guess in that sense I was thinking, and then of course a little bit around the field, stretching this way and that way with it.
I could not help but notice that since I put these images up my site stats have vastly improved. I am writing the BLOG almost daily since a project in 2012, and depending on if I have an exhibition somewhere or not my daily views are somewhere between around 40 or 100 hits a day. Currently my site seems way more popular than that, although I can see exactly in my stats page that the post with the nudi-pics is the one that bends statistics here immensely.
For this reason I would like to invite my honorable viewer to look around a bit more, if possibly there is also something else what would be of interest to you. Although I am trained in my field and in various media at that I am very keen on making my art accessible for everyone, trained or not trained, and everyone should be able and confident to have an opinion on it and if possible feel inspired by it. Sex is a good thing in my eyes, but there are other interesting things in life as well.
Art, for example.
And here, since now, you get BOTH! Exactly, you heard right: BOTH!!! Only if you ALSO look at my art stuff, that is…
I hope you enjoy and do not forget to leave me a comment, if you are brave enough, that is. Sorry that this is not an online dating site! My site is set up in a way that you can leave comments anonymously. Whilst I have been watching you looking at me the whole time through that little window of your web camera, hey, I am waving at you right now!
Come on, wave back at me!
THANKS FOR LOOKING!
Josiane Keller “touch touch touch” (2013)
Oh, hey, a real excellent movie to this topic, the best I dare say (so far at least, in my humble opinion) is Jan Svankmajer’s “Spiklenci Slasti /Consporator’s of Pleasure” (1996), you can watch it in seven parts on youtube, start here with part1 and then click yourself through til the end:
Project “Lust, Life and Fear”: more discussion about color in nude photography, images of the real and unreal, Renoir’s “Bather with Blonde Hair”, Artemisia Gentileschi’s “Susanna and the Elders”, power dynamics of looking at versus beeing being shown nudity, Sharon Stone’s leg cross over scene in “Basic Instinct”, the old women laughing and waiting for sound recording for Eileen on the weekend
December 5, 2013
Indeed the nudi-pics on the other post have increased my viewer-hits (as I denied would happen and The Mungo suggested would happen) and landed me on some weird site I have never heard of before in the “nudist” section. That is actually funny. So far no Russian online-dating site. But it might still come, who knows.
I was thinking about the role that color plays in these images and did a couple of experiments. I would love to find enough volunteers willing to model for me like this, that would be nude in their bath or shower, as that is in reality the only place where it makes sense to really be naturally relaxed and naked, and with some sort of paper bag or box on the head, next to a computer screen that shows online “the perfect alter ego”.
This imaginative project (I doubt I will get enough participants, but I can try!) is called: “Lust, Life and Fear”
Lust, obviously as the nudi-pics online have an aspect of commercial arousal to them, Life, as in reality humans are naturally naked and it is a part of our existence, even though we make a great deal out of covering it up most of the time, which then again enables us to make an even bigger deal out of uncovering our nudity at specific occasions; and Fear because so far the friends I asked refused to model like that for me “nude? never!!! Only on front of medial professionals!”, so inclusive in my own case there are various concerns that stop us from volunteering to make ourselves vulnerable in this sense to an audience.
Once gain taking up the thought from a couple of days ago with the self-portrait with the pink polyester boa, taking the color out creates a certain distance that might make models feel more comfortable:
But then I thought in reality it is a cheap trick and to show that one should take the color only off the figure alone:
Josiane Keller “Woman with recyclable shopping bag, unreal” (2013)
It is like she is two-dimensional in an otherwise three-dimensional surrounding.
And the opposite creates exactly the opposite feel to it:
Josiane Keller “Woman with recyclable shopping bag, real” (2013)
A seemingly “real” woman in a cut-out world on paper.
Josiane Keller “Woman with recyclable shopping bag, red” (2013)
However, enhancing the ‘natural’ color to a drastic red tone makes it surreal again. The red body, a color associated with lust and sexuality, in its extreme almost looks like inflamed.
Josiane Keller “Woman with recyclable shopping bag, green” (2013)
Whilst green color makes her look like not from this planet, literally. A woman that accidentally (?) manifested herself or it happened to her in some ordinary bathroom.
Do these appearances and associations change if applied to the other gender on men?
Josiane Keller “Man with recyclable shopping bag, unreal” (2013)
He looks like a cut-out figure whilst the room around him seem actually three-dimensional.
Josiane Keller “Man with recyclable shopping bag, real” (2013)
And again: a seemingly ‘real’ man in a 2D cut-out world, despite the fact that the image is actually altogether two-dimensional.
Interesting. So, if you are brave and bold, model for me with a paper-bag on your head! In YOUR bathroom, as that is the place where it makes sense to be actually naked, (wiki thinks so too:)
and many painters before my time noticed that, too.
Pierre Auguste Renoir “Bather with Blonde Hair” (1904-06)
Meatball painting. (Sorry for saying so.) But even considering a different body type at a different time I would assume the actual girl did NOT quite look so round and soft filtered, so a lot lot lot of fantasy is applied here.
Obviously once and a while, if she was allowed to paint AND SHOW at all in a male dominated territory, someone also took the chance to point out that the exploitative side of it gets old over time:
Artemisia Gentileschi “Susanna and the Elders” (1610)
Lots to say to that, but we must rush on, so only quickly one of plenty on an interesting painting by an interesting artist, on the above “Susanna and the Elders” by Artemisia Gentileschi http://www.artemisia-gentileschi.com/susanna.html
The point is obviously ‘how much control is the model willing to give up?’, which is a matter of trust, and/or ‘what are the models actual motives anyways?’
Interesting enough, the power dynamic seems to turn around if one shows one’s naked body deliberately and especially those who have been trying to sneak unnoticed jump back once they become aware that the privacy of the sneaking has been exposed and therefor deleted.
I am looking through the net for a suitable painting to the topic, but really the best comment I could find is Sharon Stone’s leg cross over scene in Paul Verhoeven’s “Basic Instinct” (1992) http://www.imdb.com/title/tt0103772/,
but everything I could ever have said about it is much better said in ”WrestleMania 21 Parody: Basic Instinct”
Watch it til the end, the most interesting bit is the old women laughing. So age and experience play a massive role in this. From initially a young girl maybe more likely becoming an intimidated victim a more experienced one can direct the dynamics whilst an old woman practically can do whatever she likes, sexual exploitation, at least on a psychological level, becomes then almost impossible, because an old woman understands the rules of the game too well and also is generally no longer object of the chase. Again, the dynamics change if the victim turns around and volunteers what has been chased after or tried to be gained with tricks.
Besides that I am indeed happy with the Eileen footage and waiting for weekend when I will do the sound recording in a very industrial location, that at this point shall not be identified any further.
Fetus Eileen ultrasound and in the womb: complete!, Jan Svankmajer’s “Otesanek” opening scene and Pavel Nový
December 4, 2013
At last, it is done: Eileen footage, ultrasound and in the womb is completed, hurrah!
And as ever so often, all the imagery I did of the most recent ultrasound looks most static and uninteresting.
So the choice was between version one and two, as after all experimenting I didn’t think i would come up with a fourth better way of doing it, sometimes the juice is already in it, one has to just look for it.
Version one looks beautifully Svankmajer, tempting, but I want it a bit more subtle. I will keep the footage though, maybe at some other point I can use it.
So for this time the winner is after all the deep frozen chicken floating in space (no way!) Of course I had to now get the chicken out of it, which was mainly cropping all imagery where the tiny clay baby butt was prominent. That meant: radical cropping, I think I am down to a third of the original footage, but at least it seems to work.
In the end now it seems to look just right, but I will sleep over it one night and see how I feel about it in the morning, as from my experience with the whale animation it can look all different the morning after…
This one has no voice-over, but I want some sound. So that will be the next question to solve.
I am not putting more stills up here, but instead you can watch the wonderfully bizarre and very fitting opening scene to Jan Svankmajer’s “Otesanek” (2000), brilliant as ever, with the at least equally brilliant Pavel Nový playing Alžbětka’s father:
actor Pavel Nový (*1948 – present)
probably my favorite, and probably also one of Svankmajer’s favorites; read more about him here:
regular cast at Studio Ypsilon, Prague http://www.ypsilonka.cz/
back to the film “Otesanek”, wiki’s wisdom to it here:
Read it, have fun, but I go to bed for now. Good night!
December 4, 2013
The absolute winner of the week in the quest for SPAM like ZEN is this one here:
“Most scientists believe that when old furniture piece becomes too old and worn out fairly fast, a wooden bedside table, a modern table would seat just the family for five generations.”
Take some time, close your eyes and mediate on it for a while. It will make you see the world in a whole different light!
Questions about nude modelling in the days of internet, “Woman with recyclable shopping bag”, “Woman with cardboard box”, a creepy facebook fan from Bangladesh with an Adult Online Chat Room, “Our Lady of the Supermarket”, Laurie Simmons’ “Love Doll”, John Everett Millais’ “Ophelia”, non-online existing information on Phoebe Cummings’ piece “Beneath”, “Man with recyclable shopping bag” and Jean-Leon Gerome
December 3, 2013
Since the image with the (pink) polyester boa in the studio and various discussions with friends abut this topic I am thinking about nude images in color or black and white, and what it means especially in days of internet where these images are openly view-able by friends, relatives, coworkers etc. as well as easy to be downloaded by websites that market them in a sexual context.
When I prepared from my MA application I rented a (very) cheap winter let in St. Ives in Cornwall and earned my daily bread by modelling for local artist, especially John Emanuel http://www.johnemanuel.co.uk/
and Naomi Frears http://www.naomifrears.com/.
Both are working semi-abstract and are well established as respectable artist, so being recognized as one of their models through their images is, if at all possible, not in any way “questionable”.
But how about modelling for photographers, were the images is much more direct? I used to model for a photographer named KOZO in Kyoto in the mid 90′s, who worked primarily with black and white nude images, but this was before the common use of internet, so again the chance that I would be recognized by anyone is minimal.
In Kyoto lives also a photographer called Kai Fusayoshi http://www.honyarado-kai.com/index_eng.html, who is famous for his street photography especially of cats and “beautiful women” (notice that but to him all woman are beautiful!), and I am also included in one of his books, but I am wearing clothes.
I added the studio photo with the boa on this BLOG in black/white although the original is in color. The reason is my face is shown and I worry about ‘accessibility’ online. A TV-actress friend of mine modeled for a photographer for promotional pictures partially in a bikini, recently these images appeared on a Russian online dating website.
If the image is in black/white it seems more distant, less accessible and certainly awkwardly two-dimensional on any online-dating sites.
Different levels of general tolerance or appreciation of nudity varies from culture to culture. Whilst in continental Europe nudity depicted in a casual pose is widely tolerated without any worries in US there is a generally higher concern about these images and the accessibility in public, that includes websites. Apparently showing nudity in images is generally tolerated as long as it is clearly not in a sexual context, so the question is “what is considered a sexual context?” Nudity itself or a certain pose, clothes/accessories or surrounding?
What is the purpose of the artist or any person to create and show these images versus what is the reason why a person is looking at such images is an essential question. People, particularly men look for nude images of women for arousal; does it matter if they can see the face or is it actually more arousing in this situation if the face is cut off or covered? What difference does it make if they have met the person or not or know anything about her or can be sure that they never will meet and get to know her?
Whilst as a women I do not wish to be sexually exploited and degraded to only an object I also want to a certain degree be considered sexually desirable; I conclude that means to a certain degree I am hoping to be sexually objectified, although not exclusively that. What is the intention of the model to show herself in this way, where are the boundaries and why?
Without having the physical perfection of a professional photo-model, can I stand the juxtaposition to the overabundance of images of seemingly “perfect” bodies or would my own body look bizarrely comical next to them? What would this realization do to my sexual self esteem? I am a middle-aged woman. To what extent applies the process of ageing to my willingness to show myself naked? To what extent is the situation altered if the nude model is in a fix relationship to a man versus to a relationship with a woman, or to what extent differs the situation if the model is a mother of young children?
Consent and control are important. How much control over the use of an image do I have if I post it on an online BLOG? Obviously next to none. How can I prevent use of my images in ways I disapprove of? How would my commission be secured if people market and sell my images downloading them as it happened to my actress friend? Not at all.
In context of these questions I created “Woman with recyclable shopping-bag” and “Woman with cardboard box”. The images are in color, but the model’s head is covered and therefor hidden from recognition.
Josiane Keller “Woman with recyclable shopping bag” (2013)
Josiane Keller “Woman with cardboard box” (2013)
(*some days later)
After I put up this post my site stats sky-rocketed way beyond their normal level, but only this particular post.
Funny enough as I did my best to take a picture as non-sexual as can be. But to some people it cannot be non-sexual, as there is nudity, female nudity, and they are not used to that, which also can be connected to their culture or life-style. Thinking of the classic reclusive single guy watching online porn in his basement.
Within 24 hours of posting this I had a facebook follower, a certain Sefayet Ullah Mazumder, although neither I nor any of my friends know him or have any connection to him. My facebook page is private and not connected to this site at all.
an uninvited fan (2013)
Upon further investigating I found out a person of this name runs an adult online chat room on PalTalk: “Created by Sefayet Ullah Mazumder 5 Jan 2010, English Friendly This is an R-rated room inappropriate for minors” (YUK) and it is connected to Bangladesh. I assume that is where he’s originally from.
Technically it is possible this one guy is the one pushing my site stats high into the clouds. But that is, see above, one aspect of nude modelling if put online one has ZERO control over.
Besides the nudity aspects there is an obvious connection between women and paper-shopping bags that interests me and I made a piece about it a couple of years ago:
Josiane Keller “Our Lady of the Supermarket”, fold-out sculpture (2010)
And the idea to custom-order women online that arrive in boxes is also not from me, check once more Laurie Simmons:
Laurie Simmons “the love doll” (2009-2011)
In context to these thoughts I want to show a fully clothed model in the painting “Ophelia” by Sir John Everett Millais:
Sir John Everett Millais “Ophelia” (1851-1852)
The model is Elizabeth Siddal (1829-1862) http://en.wikipedia.org/wiki/Elizabeth_Siddal, modelling for this painting at age 19 for Millais in a bathtub where she famously caught a serious cold, which was billed by her dad to the artist. After a 10 year long engagement married to Dante Gabriel Rosetti with whom she painted herself. She was addicted to laudanum on which she eventually overdosed in 1862. Her husband slid a journal with is poems into the coffin, an only copy, which he had retrieved seven years later by his agent Charles Augustus Howell during a dark night in 1869 from the coffin. Apparently the corpse was well preserved and her long strawberry-blonde hair had kept growing, so by then it filled, romantically so, the whole coffin. The retrieved poems being too erotic for time and place did not do well and Rosetti was ‘haunted by the exhumation for the rest of his life’, so wikipedia states and I well believe it.
You can admire the painting in the Tate (small Tate) in London
And then I wanted to show and write about ceramic artist Phoebe Cummings‘ piece “Beneath”, but most interestingly in context of the nudi-picture discussion above I am just finding out that despite her fame and many installations he has no actual homepage of her work, only a twitter page, and there is also no image of this piece available online although it is mentioned in various articles, such as here:
How interesting. Does that mean it does not exist or is insignificant? It is significant enough to be mentioned and depicted in an article by Robert Preece for the current edition SCULPTURE-magazine, (December 2013 Vol. 32 No. 10) http://www.sculpture.org/redesign/mag.shtml , so I will re-take the image from there:
Josiane Keller “a picture of Phoebe Cummings’ ‘BENEATH’ in sculpture magazine”* (2013)
*photo courtesy of the original image is most likely with the artist herself, I will do my best to investigate, as always, if you know more than me feel free to contribute through the comment or contact tab
She is interested to me as she skips the whole firing process of her very complicated and work-intensive site-specific pieces, which she usually lets decay by interaction of the environment. This seems very natural to me as clay, essentially, is one type or earth.
“Beneath” (2007) was installed under water. Quote from her interview with Robert Preece for sculpture-magazine:
“It was in a shallow area at the edge of a lake inside a boathouse. (…) Dry clay would have dissolved almost instantly, losing its shape; wet clay, on the other hand, becomes soft, but tends to hold its shape unless disturbed. The piece lasted about a month before dissolving completely and sinking into the sediment.” (…)
(*one day later:)
the wonderful Ms Phoebe Cummings has sent me the actual picture in much better resolution, which is the reason why I am able to add it today here:
Phoebe Cummings “Beneath” (2007)
And now you can perhaps better see the connection to Millais’ “Ophelia”… I am delighted! Thank you Phoebe!!!
(*and back to the day before:)
Hurrah, hurrah: we have a brave volunteer: to bring up and throw over everything we thought so far, here is “Man with recyclable shopping bag”:
Josiane Keller “Man with recyclable shopping bag” (2013)
*Careful, when you come over my house I might strip you naked, put a shopping bag over your head and put the photograph of it on the internet!
There was a painter who chunked these super-tacky nudi-pics out by the dozen, Jean-Leon Gerome (1824-1909), - sorry folks, but what else shall I say to these? Not much has changed since then, only we can admit our dark, dark desires a tic more openly these days, well, hopefully at least we can, and don’t have to hide them in allegedly ‘historic’ or ‘exotic’ scenes;
have a look:
Jean-Leon Gerome “The Slave Market in Rome”, detail (1884)
The discussion is endless, read more about him here: http://en.wikipedia.org/wiki/Jean-L%C3%A9on_G%C3%A9r%C3%B4me
and view more of his kinky girls on stage here: http://www.jeanleongerome.org/
I would so have loved to go for a coffee with this man and find out what he is all about. To late now. Oh well.
And for the rest of the day I am busy with post-production on Eileen’s ultrasound footage, as shot last night. She is really difficult, this little clay girl. She did so great with the in-the-womb images, but the ultrasound-footage is tricky. I might stick with the first or second attempt, frozen chicken-association or not, they seem the most alive after all.
December 3, 2013
Despite the fact that it is getting tedious I spent the day in the studio re-shooting Eileen’s ultrasound pics and with some luck now they are OK.
So I had to make sure that with a slanted top her head was in focus, that means close to the screen or it would be after the whole footage goes through aftereffects invisible and make her look like the well discussed deep frozen chicken floating in space. And the next best idea to work with a parallel top didn’t work out as then then Eileen’s body would be way too faint.
And also it turns out if I don’t bother going through the effort of making a ton of single figures for one sequence of motion I better make more than only one limp movable as otherwise whatever figure I am working with looks like the miniature model of a figure from Macy’s Christmas Parade waving from a float.
Maybe now I am good, but I have to sleep and will only find out for sure tomorrow.
Josiane Keller “Eileen on lightbox” (2013)
Time will tell, for now good night!
Back from Chicago where Sallie is still running…, Brian Cavanaugh, Guy Eytan, Phil Peters and David Rueter, Christine Schallenberg and Sallie, and working again with a re-loaded program and more Eileen
December 1, 2013
So, Chicago was simply Chicago, which is wonderful. (I am a Chicago fan, in case you don’t know that.) Partial reason for that may or may not be that I seem to be doing well with my stuff in specifically this very town and that has also been with one exception when I was doing a train round trip through USA always my reason to go there (or should I say ‘come here’?)
Chicago has everything. I like old stuff. Chicago has old stuff:
Josiane Keller “fire ladder in Chicago” (2013)
I also have a thing for gorillas, maybe lesser so men that act like Silverbacks, but gorillas per se are beautiful:
Josiane Keller “Gorilla” (2013)
Usagi-chan “on the bus” (2018/09)
Everyone knows Chicago has a beach front:
Josiane Keller “A ship – a ship!” (2013)
And then there was of course the show at ARC Gallery, curated by Jan Tichy, which is still up til the 14th December, if you are nearby go and check it out:
It is really very beautiful and interesting and I had the chance to meet some young and eager art students or recent grads, mainly from Jan Tichy’s course at School of the Art Institute Chicago, to mention some other kids showing there, who’s work I liked, that would be, in alphabetical order:
Brian Cavanaugh, (who’s current work is almost identical, visually as well as in concept, with a project I did during my MA in the particularly lovely city of Sheffield in UK);
Brian Cavanaugh “#happyis” (2013)
Guy Eytan, who’s immigrant confusion I can well relate to with “A map Called Home” , but still he is brave enough and hopes to stay in the US (although I think just Chicago doesn’t really count, before you have treated yourself to hardcore US countryside you have not seen anything! Still the best of luck and may all your wishes come true!)
I couldn’t find his site, although he said it was up, but there are plenty of links to his accomplishments, for instances he will be presented at EXPO Chicago 2014:
Guy Eytan “A Map Called Home” *(2013)
(* the image is a bit crowded due to lack of space you can see a number or pieces and also a chair for the gallery talk, Guy’s piece is the one in the middle made from vinyl, rakes, string and printed text!)
Do not ask me how I could ever skip that, as the piece that completely own the space was a fence made by David Rueter and Phil Peters with Phil having been there at the talk, and it was not only interesting but also visually pleasing. and I did not take a picture of it, slap me in the face! I sent him an e-mail if he is willing to send me a photo for this BLOG, so far no reply, well, at least I hope he will add one to his website, anyways, the link to his site is here and the piece was called “Barbed Wire Fence Telephone” (2013):
and David Rueter (who sadly so wasn’t there, so I didn’t get to meet him, which is shame as his work according to his site seems very interesting):
(*meanwhile Phil did get in touch and sent some beautiful pictures for this BLOG with permission of David as well, so here you can admire the beautiful fence):
Phil Peters and David Rueter “Barbed Wire Fence Telephone” (2013)
Phil Peters and David Rueter “Barbed Wire Fence Telephone – detail” (2013)
And not that is has not been done before, but then again it still applies and is a beautiful thing, Christine Shallenberg’s piece, tracing the movements of her dancing body with ultra red light, in various ways communicated, such as a projection and paper cut-outs :
Christine Schallenberg “28 Scores in Light” (2013)
And then there was Sallie, running at a Gallop, almost non-stop, apparently she crashes only about every 2 days, but I can clean that up when she comes home with all the equipment and for the time at the gallery they know thanks to incredibly fool-proof instructions how to re-start here.
Josiane Keller “Sallie Gardner running at ARC Gallery Chicago” (2013)
BTW, she is conveniently positioned right by the entrance to the right side and the gallery is next to a bus stop, which is fabulous, as all the dear people who are waiting at night time for the bus can watch Sallie run through the night.
I really enjoyed myself and am back home, inspired and encouraged, hurrah!!!
After re-loading the movie program Eileen is also far more cooperative and floats elegantly like a frozen chicken through outer space (* if that comment confuses you check earlier posts and pictures!), so I will have to re-shoot this footage again, which is OK, putting it all down to experience.
November 30, 2013
I am in Chicago to hear Jan Tichy give a talk about the show he curated with Sallie running in it, and of course also see her run!
Richard Long saw the video and he said, quote Richard: “I saw her stop and go” and I told him maybe he needs to wait til the video is fully loaded if he uses iphone, but I want to see Sallie run, full speed! So we will see, if that set-up worked out the way it was meant to be, so far I heard no complaints.
I will post details about it all later on.
Eileen and me worked it out, now my movie program is buckling…a deep frozen chicken and Macy Gray “I’ve Committed Murder”
November 27, 2013
OK. I should be sooo much further now and am now and am truly grumpy.
Managed to come up with a potentially good footage and now my movie program importer does not play along and refuses to import a batch of images, I tried everything apart one thing: read the instructions. I bet there is a tiny mini setting I accidentally in half delirium working late at night hit and now my files go somewhere where I will never ever see them, or God knows what is going on, it does not seem a glitch in the program as I closed and re-opened it by now really 5+ times.
So for today we will not find out if my footage is really good or if it is crap and needs another re-shooting.
There is a chance that it all looks like a deep frozen chicken flying around in the outer space. Or am just thinking in these terms due to Thanksgiving…?
Anyways, here some stills of it all so far:
Josiane Keller “4 Eileen stills ultrasound” (2013)
(*… some hours later:)
Despite the fact that my program is acting up I am very sad to realize it anyways was in vain once more because the new footage does look like a floating deep frozen chicken, hence the head is blurry. So tomorrow we will do it all once over again. Hurrah.
(*The Mungo disagrees to the frozen chicken impression, “unless you pointed it out!”, but hey, I POINTED IT OUT, so too late now!)
And at least to express the mood sing along with Macy Gray “I’ve Committed Murder” from her album ‘ON HOW LIFE IS’ (1999):
Eileen does not play along and more research is needed, Anders Petersen “Cafe Lehmitz”, Tom Waits’ “Rain Dogs” cover image and Jim Jarmusch “Down by Law”
November 26, 2013
Although so far she did so well Eileen all of a sudden now plays quite the diva and re-shooting the ultrasound animation is very tricky and does, so far, not get me anywhere. I am lacking hands and also I may have to chance my technique as in instead of cutting the ultra-sound camera window from cardboard and physically placing over Eileen on my lightbox adding it later in photoshop.
So I am working on this right now and it will take quite a while longer.
Meanwhile you can admire the amazing pictures of Swedish photographer Anders Petersen,
who is here most famous as one of his images of the series “Cafe Lehmitz” shot in Hamburg in the late 60′s… :
Anders Petersen “Cafe Lehmitz” (1967-1970)
…is famously so on Tom Waits’ 1985 album ”Rain Dogs”:
Tom Waits ”Rain Dogs” (1885)
and he also mentions it in an interview with David Letterman (next to his then brand-new movie by Jim Jarmusch “Down by Law”, listen to it here: https://www.youtube.com/watch?v=cmSVL3EcCBI
and this would be the link to the famous “I scream, you scream, we all scream for ice cream” scene:
more science on this film here: http://en.wikipedia.org/wiki/Down_by_Law_(film)
and whilst I am discussing matters with Eileen and probably have to give in to some adjustments on her contract (diva-models, I’m telling you!!! Such a drag!) listen to Jockey full of Bourbon from the RAIN DOGS-album:
Meanwhile Eileen and me at work:
Josiane Keller “Eileen ultrasound footage re-do” (2013)
Very ‘stone age set up’*, I am fully aware of that. It is indeed an old sewing machine, you guessed correct, but it proves you can create an animation studio on a minimum budget.
*Yuri Norstein once said in an interview on his cut-out work as opposed to everyone else now doing most of this on computer he was the “wild man swinging a club and screaming”. So I am in best company!
Richard Long at Lisson Gallery / Frieze Masters 2013, BLU collaborating with David Ellis, Ryusuke Fukahori’s goldfish, Josiane Keller’s pocket boob, one more BLU-film: BIG BANG BIG BOOM and still no successful results on Eileen’s ultrasound work
November 25, 2013
Whilst I am re-shooting the ultrasound footage of Eileen with double gauze this time, watch Richard Long making a beautiful mud circle:
I already mentioned that I am blessed to be friends with this wonderful man, so I can find out a bit about the mind that makes the miracle.
And get actual updates. Like this one. Haha. And you don’t! Unless you check back here, then you will. Haha.
I just watched this and thought it work well as an animation.
And so I checked once more on an artist who’s work we are all familiar with although we do not although realize he is the one who makes these: BLU from Bologna, http://www.blublu.org/
And BLU and David Ellis collaborated on this piece here:
And checking a bit on David Ellis I came across an artist I liked even better, and his name is Ryusuke Fukahori, who paints goldfish in resin. I happen to love (almost) all things Japanese (*not their atomic reactor accident policies and a VERY few other things, but most things else I DO, truly, love!) and I also LOVE goldfish, so that is something for me, and maybe for you, too, check it out:
And whilst I am checking other animation related art I am also unpacking the freshly bisqued Sallies, all but one*, #10, lived through clay-horse-Jenga, the one that did not had an air bubble in her leg, so she was doomed anyways and I have to simply re-make here, that is OK.
(*Actually, all but two: #9 lost her tail. Oh well. Even two I can handle, #9 and #10 in the film sequence.)
I also made a pocket boob, which if it turns out to be popular I will go into mass production with and become a millionaire, but for now there is only one as eye-candy for those lonely cold days in the studio:
Josiane Keller “pocket boob” (2013)
Ahhh, go ahead: have one more BLU film, as they are simply too beautiful to diet on them, here is “BIG BANG BIG BOOM”:
And then there is Eileen, on ultrasound, with double gauze. In the works.
Josiane Keller “Eileen ultrasound test pic 2e” (2013)
Hmm. This is not working very well. The problem with the original footage is that the figure is too straight, I am having a mask on the light box, so I can’t work with different angles to make it more lively, or it will break the illusion.
I have to rotate the baby, but it is too heavy and fragile for a smooth movement.
So I guess this did not work. I will need to come up with some form of a pillow to put her on and work with a mask in aftereffects instead of during shooting. But now it is time for bed, that’s for sure.
November 23, 2013
Since the wrong Sallies fired so beautifully I decided to go ahead and fire the “right” Sallies today, which are the ones who gallop somewhat in a way like a horse gallops and therefor also the ones I will need again in the future, actually in the very near future, there is supposed to be a sequence in “I anyways live until I die” with a herd of galloping horses.
Unfortunately I still had no chance to get my smaller kiln posts out of my storage space and so I did the very risky thing and basically made a pile of clay horses in my kiln…not very safe, but sometimes we have to be daring to get forwards in life or everything will be snail tempo.
It looks great, at least that, otherwise it is more a sort of clay horse -jenga, and to every potter out there one version of flaming lunacy, but hey:
Josiane Keller “firing the Sallies” (2013)
and since two of them broke a leg during transport I had to do emergency first aid with original Modena Balsamico vinegar (what goes on my salad also goes on my ceramic), and kept the lid open for half an hour, just so the fixed legs were able to dry thoroughly, so pray for my horses guys, and btw: they look cool on fire as well:
Josiane Keller “hell horses” (2013)
Ha, Rodin is nothing compared to these, but whatever. I admit, they are small, but maybe in life size it would be quite something, a pile of horses!
We will find out tomorrow if it all went well or not.
Meanwhile I purchased some very fine gauze (*thanks, Pippa!) originally meant to create ball gowns, I have less use for anything ball gown right now, as much as I regret that, but instead it will be experimented with as an artificial womb for re-shooting the “Eileen ultrasound images”, we will see if it works or if it looks crap.
And to look, once more, how it REALLY looks like I checked this very great video:
Like this ? :
Josiane Keller “Eileen ultrasound test pic 2a” (2013)
Hmm. Not sure.
Once more, how did I do that before …?
Josiane Keller “fetus Eileen four ultrasound test pics” (2013)
… and how does a real one look like…? :
Robin E. Weiss “ultra sound – 13 weeks pregnant” (2013)
OK, once more.
Like this ? :
Josiane Keller “Eileen ultrasound test pic 2b” (2013)
Looks somewhat creepy. Hmm.
Josiane Keller “Eileen ultrasound test pic 2c” (2013)
That might work. In film sequence these ripples would move and it might work, after all I don’t want to recreate what is already there (Frankenstein!) but somehow express its essence…
But. I have to go to bed now.
(*…the next day…)
or here Eileen with only one layer gauze, would look like this to compare:
Josiane Keller “Eileen ultrasound test pic 2d only one layer gauze” (2013)
Maybe two layers works better after all, and could possibly work, actually.
Eileen in the womb is perfect and Eileen ultra sound needs redoing… of course it does…!, NFTS and “Jersey Girl by Tom Waits, Pearl Jam and also Bruce Springsteen with a dedication
November 22, 2013
A brief review of what we have learned in the recent lesson, doing “Eileen in the womb”:
a fraction of a second in stop motion animation matters. But not only that.
In a sequence it is very essential to pay attention to other factors as well, that are (not exclusive): color of the frame, motion, are there any large objects being moved? How far over the frame are they being moved? Are they being enlarged or getting smaller?
All these factors can create the illusion of an either longer or shorter frame within a sequence, no matter how long the frame actually lasts. Also: dynamic is very important. Similar as with the whale picture, one might work over a clip for ages and then added to another one it looks all over different.
And besides all these, there is yet another problem: “Eileen in the womb” is now perfect, gorgeous, I am very happy with her. And just when I thought everything was running smooth…. well, in juxtaposition “Eileen on ultrasound” looks C.R.A.P., although I had been very happy with that scene inititally.
Similar thing had happened filming the whale, it is really like trying to adjust a leg on a wobbly table by sawing the others down…
I will simply shrug shoulders and re-do “Eileen on ultra sound”, but I do hope the phenomena won’t continue when I put all the various scenes that shall make up this longer animation together, as then it will NEVER get finished. OK, open day for ‘MA Directing Animation’ at NFTS is in April http://nftsfilm-tv.ac.uk/our-courses/masters/directing-animation, so technically I have time til April…. and YES, I would love to apply for that!
Meanwhile let’s listen to my ultimate hero Tom Waits and his beautiful “Jersey Girl” from his 1980 album “Heartattack and Vine”:
and because it is such a particularly beautiful song let’s also listen to the Pearl Jam version right here, from :
and whilst we are at it, here is also Bruce Springsteen’s version, dedicated to a very special girl, who really likes “Bruce” a lot, and I like her a lot although she is not from New Jersey at all (*the ‘ring’- bit we can forget about, but that’s alright! Boy, am I in a romantic mood today!!!)
(It’s such a gorgeous song, you can even put it on your phone as a ring tone!)
November 21, 2013
If you want to know what I am doing all day long, well I am adjusting timing on the “Eileen in the womb” footage, that means that for hours I check if a certain from is supposed to last 0.07 sec or 0.08 sec and then the opposite or even 0.12 sec and so on.
It is totally crazy, but in my opinion it is the whole trick with this style of work and if I get it right my film will look real …- or not.
And until I am done with it there is nothing to show here. Too bad. But that’s the way it is and there’s no way around it.
Meanwhile, if you have nothing to do, you can learn about magical rituals right here til I am back:
It’s actually a classic by Maya Deren http://en.wikipedia.org/wiki/Maya_Deren
November 20, 2013
I am shooting now Eileen in the womb. It is for some reason going well. I am saying that because the whale obviously brought some issues along, and I had to re-do it so many times, but I guess I learned something from it.
There are a couple of angles where she doesn’t work well, but all in all she is doing fabulous and this part is very rewarding and fun to do. I am also learning about timing, what I already did wit the whale, so even in this chunky style I am shooting if I have a longer frame, like 0.12 sec versus 0.07 sec it can create the impression of a very smooth motion.
Where Eileen on ultrasound had to be choppy (if you ever had an ultrasound you know it looks weirdly choppy) of course in the womb is water, and a baby in the womb same as a whale in the ocean is somewhat floating, even more as it is alive, but doesn’t really swim to move forward.
Here some stills so far:
Josiane Keller “four Eileens in the womb” (2013)
… a couple of hours later she is still holding up, the perfect model, doing so great, more stills here:
Josiane Keller “four Eileens in the womb 2″ (2013)
She does look a bit like she is snorting coke here, but in the film it doesn’t look that way. Instead in the film she is moving the hand in a little bit too lady-like way, but I think I gonna leave it in anyways.
So far so good. I am not sure right now if I need even more footage or if this is enough for the fetus scene, together with the ultra sound images, but I will call it a night, early for a change, BEFORE midnight (no way!!!)
Fetus Eileen ultrasound footage completed, Angélique du Coudray’s “la Mashine”, Lennart Nisson rip-off?
November 19, 2013
Eileen’s ultrasound clip came out well at first attempt (no way! YES, way!!!), apart from a few mini repairs. I am happy, saves me of course a ton of time and nerves, her four stills:
Josiane Keller “four Eileen ultrasound pictures” (2013)
So that went OK for a change, I mean straight away. Next is ‘Eileen in the womb’.
And meanwhile during search of I came across this, I didn’t know of it before, but LOVE it, for visual as well as social and historical reasons and then some more probably as well. So there was this lady, Angelique du Coudray (c. 1712 – 17 April 1794), who was a midwife teaching revolutionary methods (inclusive the at the time novelty technique to wash hands during assisting various births), which drastically improved the survival rate of infants and new mothers.
To explain what’s going on she not only wrote a several times updated book on the topic “Abrégé de l’art des accouchements” (‘Abridgment of the Art of Delivery’, 1759), but also made these models from fabric, leather stuffing and the occasional bone to show how a baby is positioned during normal birth, more important during breech birth and how all this is actually working in action, for the midwife in training to practice on.
The material she used for the models are so wonderfully feminine at hand to the crafty housewife, which I think considerably adds to the expressiveness of the whole thing called “la mashine”, and one remaining example out of hundreds survived and can be admired in the MUSÉE FLAUBERT D’HISTOIRE DE LA MÉDECINE in Rouen,
Have a look:
Angélique du Coudray “la mashine – 1″ (2013)
Angélique du Coudray “la mashine 2″ (2013)
Read more here: http://en.wikipedia.org/wiki/Ang%C3%A9lique_du_Coudray
if you are interesting in more about here I came across this interesting article as well, which talks about how she was trained and sent to the countryside in Auvergne, unmarried, where several midwifes before her didn’t stay as they wanted to be back with their husbands in Paris, and how she was immediately was bullied as the newcomer:
Working on the “Eileen in the womb”-footage I noticed a striking similarity between a picture National Geographic put up and one by Lennart Nilsson, only flipped horizontally, in fact, let’s just say: it is the same picture:
National Geographic /Lennart Nilsson
Look once again at his site, but this time to see the intro footage of the fetus in the womb, very cool:
November 18, 2013
Whilst I am working more on Eileen’s ultrasound scene I came across a film maker based in Portland, who trained in Minneapolis, his name is Kurtis Hough, http://www.khstudios.com/
He makes very experimental films, from what I have seen, has won a number of awards and his topics are often nature and the elements. I want to post a link specifically to this film here “stumble then rise on some awkward morning” (2004) which is very simple and beautiful and features hand held camera work, what I come to learn is really rare in animation without really obvious reason, since it is now done often in non-animated films:
Kurtis Hough “stumble then rise on some awkward morning” (2004)
The first ten seconds of Hugo’s “Bread & Butter”, completed bisque, and more about Eileen’s ultrasound footage
November 16, 2013
By some chance I came across Hugo’s video for “Bread&Butter”, which is entirely un-remarkably commercial same as the song that goes with it, but it made me think about editing.
The girl in it looks like a wobbly vagina on legs that fell in a bathtub with glitter and she seems very annoyed to film this a million times and thinking “how do I say that I am done and want to go home without loosing my job?”, anyways, she staid long enough to get the job done.
But the first 10 seconds and interesting, where she walks down a hallways and the clip is cut three times with about 1 or 2 seconds of footage taken out. I was wondering what it would look like if instead of skipping some frames one would go back to 2 or 3 before and make a repeat, and do that a couple of times, a timeline like stairs? Like instead of frame 1-2-3-4-5-6-7-10-11-12-13-14-15 and so on frame 1-2-3-4-5-3-4-5-6-7 and so on.
The rest of the video is getting more boring by the second, so I am really only wondering about these first 10 seconds.
Meanwhile the bisque is completed and all the “Sallies” are fine and so is the large whale, but one little whale split and another one has a tiny haircrack where I put both halves together. It would have been better to hollow them like I did with the Sallies. Good to know.
Josiane Keller “bisque fired Sallies and whales, one split” (2013)
Next: Eileen and a fake ultrasound animation.
First let’s see how the placenta looks like on film:
Josiane Keller “fetus Eileen with placenta” (2013)
Hmmm. So-so. A little loopy. Let’s try something different.
How about this:
Josiane Keller “fetus Eileen with placenta 2″ (2013)
I like that, that works for me. Next: getting the ultrasound image.
For example this way:
Josiane Keller “fetus Eileen with placenta 2 – res72″ (2013)
That is good enough for now, as I am nagged and will go to sleep. More tomorrow! (*In reality it is still way to defined for an ultrasound image, but honestly: I have to go to bed now! Sorry. Tomorrow. Everything… tomorrow!)
Bisque fire of the wrong Sallies and the whales, John Lewis /Hornet /Blinkink and the making of “The Bear and the Hare”, more on Eileen and the fluffy placenta and four Eileen-ultrasound pic options
November 15, 2013
I am firing the “wrong” Sallies today, minus one who’s ear broke off during transport and I had wisely brought no vinegar along (my kiln studio is half an hour drive away from my making/ animation studio) and also the large whale and small ones.
The wrong Sallies means all those in positions that are in terms of the galloping sequence incorrect and were not used for the animation, but make still a beautiful horse sculpture (money has to come from somewhere right, I can’t rely only on drug dealing, real estate and investment business, right?), and also during storage if these girls are fired they are actually durable as opposed to only dried.
The alternative would have been to recycle them. But see above, maybe I will sell them, for good money, harharhar!!!
Josiane Keller “Sallie and whale bisque fire” (2013)
Yes, I am fully aware of the unused kiln space, but first of all I realized my smaller kiln posts have miraculously disappeared and anyways before I risk damaging my galloping Sallies I want to know what kind of job I did sticking these girlies together, which are, remember, made from two halves by mold.
The ones within the galloping sequence I will keep (versus selling them), as I may occasionally need galloping horses in my future films, in fact I need them already in “I anyways live until I die” , but right now I am only testing if these ladies fire OK or if they split in half and then I would need to think about how to deal with that.
Further, although everyone in UK at least has seen this already and admitted it is wonderful, once more here attention on “The Bear and the Hare” or rather: ‘the making of’:
As we can see: these guys (Hornet/Blinkink directors Elliot Dear and Yves Geleyn) had access or even own a laser cutter.
Here is a really nice site with great pics in case it was all way too fast for you (like me…):
John Lewis /Hornet-Blinkink “Making of ‘the Bear and the Hare’ ” (2013)
I am not sure if I like the hailed combination of 2D and 3D, because I think what happens is that we subconsciously assume the 3D landscape, although we should know better, is real and the figures drawn. Beautifully drawn, by the way!!!! LOVE that bunster!!!!
And then they have a beautiful and extremely expensive camera train to make this nice smooth camera movement and once again I think one should consider either fixed standpoint or handheld to make it more similar to the human visual experience, all the stuff I was thinking about making the whale sequence.
But this is not supposed to be avant-garde but a commercial ad and as The Mungo rightfully so pointed out: they are doing quite alright with it the way it is.
Link to the Blinkink studio page is here:
And further I am working on a nice little fluffy placenta for fetus Eileen… from cotton and wool.
Since I forgot or never really knew exactly in the first place how the umbilical cord and placenta go together I had to do some homework. (I did give birth …. guess it was not part of my concern back then… oh well!)
So it all looks like this:
More info here on this site: http://www.aviahmidwiferyservices.com/?page_id=95
OK, so now I know where to tuck that thing on my work. Next is make the placenta look real.
An actual photo or rather a still from National Geographic’s “In the Womb” of a 16 week old fetus:
National Geographic “In the Womb – 16 week unborn baby” (2006)
for the whole clip check here: http://www.youtube.com/watch?v=tD4sjukHHWU
and to recall the original Eileen test pics on the overhead projector, that was this here:
Josiane Keller “fetus in womb test pic oh” (2013)
so I am thinking about ultra sound images, something like this:
Robin E. Weiss “ultra sound – 13 weeks pregnant” (*date unknown)
and various ways how to express that in my work, here four examples:
Josiane Keller “fetus Eileen four ultrasound test pics” (2013)
And now, dear friends, it is one minute after midnight, and I am done and will go bed. Tomorrow more. Two minutes now!!
I anyways live until I die – fetus “Eileen” scene, umbilical cord goes where?, photos of embryo in the womb by Lennart Nielsson
November 14, 2013
Finally next scene, took long enough alright.
“Eileen”. It turns out with some more research, as opposed to what I used to think (and should know!) at the stage of development I created her she is called a “fetus”, not an “embryo”, since it looks well beyond the eighth week, detail about the difference on wiki right here: http://en.wikipedia.org/wiki/Embryo
Here a test pic of Eileen:
Josiane Keller “fetus Eileen test pic” (2013)
Looks pretty good, right? I am mighty proud of it, so I won’t reveal all the tricks how I made this, ha!
BUT. But, but, but I am not sure about the anatomy of this. So where exactly does the umbilical cord go…. this is wrong and needs more research!
Thank God there is Lennart Nilsson who developed a technique of taking photos of an embryo/fetus in the womb, perfect!
Lennart Nilsson “human fetus 8th week” (1953-1965)
or read more about him on his own site (and view more amazing images!) here: http://www.lennartnilsson.com/
So we can safely conclude: Eileen is older than 8 weeks, and also I need to come up with a better placenta, hmmmm……., and that is where the umbilical cord goes to, of course.
Anime research – animated crows in Michael Arias’ “Tekkonkinkreet”, Satoshi Kon’s “Ohayo”, parade scene of “Paprika” and light decisions on embryo “Eileen” in “I anyways live until I die”
November 13, 2013
All the material for the “INTERFACE”-show is hopefully by now on a nice little UPS-truck driving to Chicago, or so they told me when I paid them good money to do so. Time will tell. I have also added the most fool-proof instructions, so fool-proof with that I could go successfully rob a bank with a crew of international street kids, where no two of them speak the same language.
Talking about street kids (*greetings to every one at p:ear http://pearmentor.org , hope you are all alright and missing you guys badly!!!), I am desperately looking for my copy of “Tekkonkinkreet”, which somehow during my last move must have been swallowed up by the earth.
It is a very interesting and fairly violent film about two street kids in Tokyo, Shiro (“White”) and Kuro (“Black”), with tons of Yakuza action, super-human Kung-Fu jumps and a fair share of surreal fantasy stuff . The film is interesting for a number of reasons, also the amazing sound track, but I am after it today because it contains specifically in the opening scene the most amazing crows flying I have ever EVER seen, check for yourself:
Michael Arias “Tekkonkinkreet” (2006)
and additional info, for example, on this site here:
The reason why I remembered it at all right now is as yesterday I stumbled of the actual staff pick from vimeo, which was really a total disappointment and had some crows animated in it that looked like little boy’s toy planes, stiff and dead, or better never been alive. Do your homework, vimeo staff, and know what has been done on the topic before you hand out prizes! Grumble, grumble. Anyways.
Wiki wrote a decent info about it here: http://en.wikipedia.org/wiki/Tekkonkinkreet
Interesting detail that it is directed by American-in-Tokyo-living Michael Arias, not a Japanese director, here his site:
Here is the studio site that produced “Tekkonkinkreet”: http://www.studio4c.co.jp/top.html
and here, just in case, the English version with links to the main studio artists: http://www.studio4c.co.jp/english/
Searching for it I came across Satoshi Kon’s one-minute-long “Ohayo” (talking about identical footage like in “The Devil’s Advocate” and of course my own recent “I anyways live until I die – The Whale”); it beautifully expresses a certain “early morning feel”, pretty amazing, have a look:
For more information about the amazing Satoshi Kon (1963 -2010), who sadly died already and unexpectly from stomach cancer, he also co-wrote and directed “Paprika” (2006), read here: http://en.wikipedia.org/wiki/Satoshi_Kon
and look (once more) at my favorite scene of ”Paprika”, the toy parade, in this trailer, friggin’ brilliant!!!, have a look:
Satoshi Kon “Paprika – parade scene” (2006)
Meanwhile I started on the next scene for “I anyways live until I die”, the embryo scene with clay embryo “Eileen”.
Early snow, Yuki Onna, Kwaidan, Lafcadio Hearn, some self-reflection on modelling with face-blindness, Itchiku Kubota and the “Symphony of Light” and test run of the Sallie-video with raspberry for the ARC Gallery show INTERFACE
November 12, 2013
Last night it was snowing, and it feels like “early snow”, but in reality I admit mid November is maybe normal to start snowing.
But many of the really yellow YELLOW maple leaves around me are still hanging on the branches, so then in a biological sense I think one can say “early”, something here clearly is not quite ready for this.
Views from my two bedroom windows, Nr.1:
Josiane Keller “early snow window” (2013)
Josiane Keller “Yuki Onna” (2013)
In case you were wondering: this is an image of the chimney on the neighbor house seen upside down as me lying in bed looking out of the window behind my head
[*Get it...? There is a famous painting "The Lawrence Tree" by Georgia O'Keeffee painted 1929 in similar perspective when she was sitting under the tree looking up into its crown, many books print it the wrong way around.]
Compare with my drawing from my research days at Seika Art University:
Josiane Keller “Yuki Onna Nr. 17″ (2008/09)
I made several versions to the topic, and the above drawing evolved over various stages, so together it could be like a short animation (*idea!)
Yuki Onna is the mythical Japanese snow woman, a personification of winter, who is beautiful, sexy, cold , deadly and freezes people with ice kisses and embraces to death. Just like that.
I find it very interesting when whole cultures show there underlying psychological issues, for instance all America is afraid of the movie “The Exorcist” http://www.imdb.com/title/tt0070047/, which is basically a teenager exploring her budding sexuality whilst taking on a rowdy punk personality. Probably by the time she starts college she will be fine and laugh about when she had the mohawk and freaked mom out with swear words.
Yuki Onna seems similar to me. Are really all men so terrified of their reaction to a desirable woman that it equals freezing and death? One would hope things eventually calm down to more communication and understanding between both gender, instead of panic. In any case there is a wonderful portrait of this creature in Masaki Kobayashi’s film “Kwaidan (1964) http://en.wikipedia.org/wiki/Kwaidan_(film), based on Lafcadio Hearn’s collection of Japanese ghost stories “Kwaidan: Stories and Studies of Strange Things” (1903) http://en.wikipedia.org/wiki/Kwaidan:_Stories_and_Studies_of_Strange_Things,
link to the trailer (it’s four different ghost stories, Yuki Onna is the second one) here: http://www.youtube.com/watch?v=XG5mvupo9Wc
Here also a link to Lafcadio Hearn, who originally Greek went over various stops in between as a writer to Japan where he felt his true home was (I can well relate to that feeling!),
And just for self-reflection I took a series of pictures in my studio, the boa is from polyester and hot pink which is very ironic and I should have shown the picture in color, but since it is me modelling I am too bashful for this* and have only the guts to show it in black and white, which creates a nice distance. I took a series of pictures of which this one is the only one that looks like I am somewhat in control.
Josiane Keller “in the studio with polyester boa” (2013)
Self-portraits are always weird for me as I am face-blind and if I would not remember that I was standing right there doing whatever is on the picture I would of course not be able to recognize even myself.
*Had a lengthy discussion about this with particularly The Mungo, who strictly objected to me publicly notifying my chronic lack of sex, but hey, it is what it is. Further the question about nude photos, of course, point is as an artist I have to see a picture like this in context with my website, which is about art, not hot dates, so it should be fine to post the more interesting color photograph.
The concerns I have are:
1; there are by now a couple of friends following my BLOG who I personally know, but not close enough that I feel like stripping in front of them, this although in my youth I worked extensively as an artist’s model, but those happy days are long gone; and:
2; I have a beautiful friend who is an actress, who a while ago had some idiot talk herself into taking promotional shots in evening gowns stripping down to bikinis and various exotic underwear; and a couple of years later we can find these very same photographs now on a Russian-mail-bride-order site. So in days of internet sex I am not so keen on contributing in that way, so at least with a bw picture it is obvious that it is stolen from elsewhere.
Here would be an image that questions perhaps the sexuality of it a little more without giving all control away:
Josiane Keller “in the studio with pink polyester boa, unreal” (2013)
[*"unreal" as opposed to "real", as to make it feel 'real' I feel would need to keep the human figure in flesh color. I am getting back to that topic in a later post about nude modelling from 12/03/2013.]
Talking about work evolving, there is another interesting Japanese artist I want to write about, also in context with animation. I have seen his work in Kyoto in 1998 and recently in 2009 in Akron, OH of all places… don’t ask me.
His name is Ichiku Kubota, he died a couple of years ago in 2003, he was a kimono designer. He is working in a dyeing technique called Shibori, that means mainly tying strings around tiny parts of silk, then dyeing it and then untying the threads. One can also fold or stitch the silk.
He was prisoner of war in Siberia and despite the hardship during captivity he was deeply impressed by the fiery red sun setting over the horizon. He wanted to express this image on a kimono. Some Japanese object to the strong colors he often uses, but I think in his case it makes perfect sense, and besides he also uses some very elegant low-key colors.
He finally had the amazing idea to dye an ongoing landscape across a series of Kimono that would also be a change of season, so that means it would change from summer to winter and from mountain to coast. He called it “The Symphony of Light”. He had planned a series of I think it was 80 (?) kimonos, but due to the labor intensive work all he managed to complete is 40 (exact figure to be confirmed!), next to other kimonos he did outside the series.
Itchiku Kubota “three kimonos – mountain- to ocean-scape” (*?)
Itchiku Kubota “winter kimono” (*?)
Itchiku Kubota “Universe Series – Symphony of Light” (*?)
[*exact production dates of these kimonos are unknown to me, but sometime between the 60's and his death in 2003]
I always thought his work is also a sort of animation, as it is a succession of images changing. At least it would be a nice concept for an animation.
Read more about him here:
And meanwhile all this I am testing the “Sallie”-movie in a half an hour loop on a specifically acquired screen and raspberry…
Josiane Keller “Sallie-video test run with raspberry” (2013)
… and so far…. it is looping for 5 hours without an problem, hurrah!
(Isn’t it uplifting if once and a while something actually works out?!)
Below the press release for the ARC GALLERY show, http://www.arcgallery.org/news-events.aspx ,
stop by if you are in Chicago!, – and here a link to the site of the juror Jan Tichy: http://jantichy.com/
November 11, 2013
I am supposed to write a mini statement for the upcoming ARC show.
But my brain is a drain.
Josiane Keller “eye” (2013)
The truth is: lack of sex.
Nothing I could say to beautify this. There is also nothing right now I can do against it, so I simply have to stand it and I have to squeeze this statement out of my non-functioning brain no matter what.
There is a Seinfeld-episode on that topic.
Set-up is finalized with a screen and a raspberry. Hopefully it will work, as by Wednesday I have to send the whole thing off, the latest.
Josiane Keller “mouth” (2013)
And my new project will be an animation about the surrealism of unfulfilled desires and the even greater surrealism of sex itself.
But I am not there yet and still working on my thing here.
So keep it in mind til later (ha, nichts leichter als das…!)…
Josiane Keller “eyemoutheyemouth” (2013)
Further I dragged out finally the animation I made last winter in Kyoto with the working title “The end of Usagi-chan” which will probably re-named “I don’t need these any more”, unless that would be the second working title, we’ll see.
I need a soundtrack for it, hoping I can coax Madeline in singing me 32 seconds, as that is all it is.
Josiane Keller “I don’t need these any more – still” (2013)
Maybe I can integrate that bit in the next project, not sure now. Back to that bloody statement I have not written at all yet….. oh Sallie! Help me!
I finally did complete the statement, of course, and it is this:
“Sallie Gardner at a Gallop (2013)” stop motion animation by Josiane Keller
In 1878 the English artist Eadweard Muybridge developed for American racehorse breeder Leland Standford a system to photograph the motion of a race horse galloping; this in order to clarify the question if a racehorse at any point during the gallop has all its four hooves in the air.
The camera shutter was released by trip wires triggered by the legs of the passing horse and there consists a contact sheet with 16 motion still images of the racehorse named “Sallie Gardner” at a gallop. These single shots put in a row created the first stop-motion animation of a galloping horse.
I am originally trained as a ceramist, but I am not interested in producing tangible objects. Instead I create figures from clay that I use as models for living people or animals in photographs and films.
For the show “INTERFACE” I created 16 small scale clay horses one for each stage of the gallop according to Muybridge’s original contact sheet and so recreated the galloping sequence as a silhouette as well as in 3D.
November 9, 2013
So, I am in the show (hurrah!!!) and now the question is: how can I present the thing? This is not an animation competition where all I do is send a link or a CD with my film.
Instead it is a smaller gallery (although really good shows! Check it out!) with a bunch of volunteers helping with hanging and take-down of shows. That means: most likely not everyone helping with the set-up and take-down knows much about professional hanging, wrapping, secure ways to put something heavy onto a nail on a wall, these things.
Ideally I wanted to send a digital picture frame. I bought one, resolution way too low. Gave it back. Order over night another one, same thing, no matter how I saved the film the play-back resolution was always 720 x 576 pixel, which is way too blurry on a 10 – 14 inch screen.
So I thought maybe a screen and a CD player, but what I came across one can’t set on repeat.
I am now at the stage where I got a screen and a raspberry, hoping that will work. But they told me at the store if anyone decides to switch the power off or switch the machine off unprofessionally it will screw up my memory card. Wisely so they suggested to send back-up memory cards, which I will, but I can’t send one for every day of the show, so hopefully a bit of instructions can be observed.
Fingernail biting time….
Time will tell!
Another excellently encouraging spam, once more re-doing the sinking whale scene, shifting the eye-close up, Jan Tichy juried show INTERFACE at ARC Gallery Chicago, rediscovered “Degenerate Art” and finally a completed whale animation
November 7, 2013
Before I dive back into lunacy of making a perfect whale stop motion animation, let me show you today’s wonderful, marvelous and highly encouraging spam mail, which reads like this:
“If you are going for most excellent contents like me, just
visit this site everyday since it gives quality contents, thanks.”
Exactly, guys: VISIT THIS SITE (that would be mine, thanks!) EVERY DAY, every friggin’ day, do not loose a single day where you would make the mistake not checking in! In fact: leave my site up constantly, so you are always and at all times connected to my artistic (or whatever they are!) adventures. That’s right.
Besides that. I have to still improve my whale movie.
Basically it is good (when I say “good” I am OK with it, God knows if that equals good or bad), BUT. But there are issues.
I have been accused of not having contemplated sufficiently on the motion of underwater creatures, which is incorrect as that, but I can imagine what the viewer meant by saying so it somehow I didn’t get the feel across.
One important point here is: I am NOT trying to make a “National Geographic”-style biological film on whales or ocean life. Instead I am trying to create almost the opposite, which is a bit strange feeling like when we are dreaming some weird dream. Some subconscious imagery pulled out of the closet of the mind brought to the surface. It is not supposed to be anything like the all focused images of ocean wildlife footage. But on the other hand if it is to far removed from the association “whale” it is also not working.
So the blurriness is already perfect, and anyways I am the ‘Queen of Blurry’, I deserve that title as I have the spot-on eye power of an old mole. But I never felt that was a handicap, opposite, one learns to pay attention to other details.
Next point: I have been accused of being over-analytic. But I think in art-making there is no such thing, same as in psychology. Or philosophy. I think everything matters and in specific I have an big question-mark on the point that right now my close up whale’s eye is only in focus when I say the word “died”. This is total coincidence and that in it self I find very pretty and poetic making a movie on the topic of ‘dying’, but I am thinking it is a bit overkill, like a girl jumping out of a cake and as such rather funny than moving.
The other thing I am thinking about is to extend the ‘dead whale’s body sinking -scene’. I am wondering if, Jim Jarmusch-rule, it should not be much longer rather than short as is now, which is technically tricky because I am holing the whale in one hand and shooting the pic with the other, with only an occasional assistant when available. But unfortunately there is no way around that.
I am by the way no longer ashamed of over and over publishing versions of this film, as it seems many eyes see more than one and in a complicated scene like this one I am simply not fast enough in seeing mistakes. Some peoole seemed to like it a lot the way it is and some liked it the way it was and some liked both, and I am very grateful for these guys as well, but the point is I have to make the best I know of, not leave it so-so just because I ignore the fact that I would know better for the sake of proceeding. Does not seem like actually proceeding then.
Besides that I was accepted in the INTERFACE show at ARC gallery http://www.arcgallery.org juried by Jan Tichy http://jantichy.com, which is great, even though I missed the original acceptance mail sent out a month ago and consequently found out only three days ago, so I am a bit in a hurry in catching up with the preparations, as the thing has to be displayed there too, and I have to come up with the how-to.
And as daily art trivia I am so happy about the discovery of the “Degenerate Art” works in Schwabing/Munich and wish I could go and see the show they are going to put up, as German Expressionism is my favourite art style in general, and the topic of not allowing a visual artist to paint in an abstract or semi-abstract style is fascinating to me, even if also very scary.
Here one of many articles on it by Huffington: http://www.huffingtonpost.com/2013/11/05/chagall-painting_n_4218316.html?ir=Arts (why even Canaletto, one asks, but hey! We got it back, hurrah!!!)
And so I am re-shooting the whale sinking scene, once more, with more slow, sloooooow and gradual sinking:
Josiane Keller “whale tumbling” (2013)
Hours later I have a wonderful brand new tail swirl and moved the in-focus scene of the close-up eye of the whale a bit away from the word “dead”, which seemed incredibly tacky to me.
I am all happy and will go to bed now. The chances that I won’t change it anymore are almost 99%, judging from recent history… which means: I can finally start the next scene!
November 6, 2013
Today only color to balance the ever lasting BLUE of the last weeks:
Josiane Keller “autumn color therapy” (2013)
With all those extremely worrying Fukushima Daiichi-news I do not want to call it “anti-ocean”. Only color.
Oh, and by now you know I like blurry. I am extremely nearsighted since early childhood on and it looks more natural to me. Cherish Monet in that sense! Or cherish Daido Moriyama, same reason, I guess!
Daido Moriyama (*title as well as date unknown, but I conclude someplace in Shinjuku, Tokyo)
Oh shuut, I forgot: in case you don’t know who Daido Moriyama is I should add some info, sorry about that:
Finished the revised version of “I anyways live until I die – The Whale”, it must be blurry, wobbly, short and long
November 5, 2013
After days of working on it and obviously not taking the time to BLOG each actually or assumed success and each failure that turned out to be an excellent learning step I am finally done.
It is certainly not perfect, but at some point one has to realize this is the stage I am at right here and now and also I want to go on with the following sequences to complete the whole film, so maybe in ten years I will say “Ha, that was that movie with that bloody whale I made back then, drove me half mad and I drove everybody else half mad making it!” Oh well.
So I am content enough and happy, here the thumbnail:
Josiane Keller “I anyways live until I die – The Whale” (2013)
I changed the text to only “The Whale”, as during my research for how whales REALLY move under water I found out that “Voice of the Whale” (the original title) is so common it is used for whale watching and recording projects.
Other things I learned doing this project are basically: after you did hours of all sorts of nonsense on trying to get it focused you will understand that it must be blurry anyways, make it wobbly when you thought it had to be smooth, make it long when you thought it had to be short, make it short when you thought it had to be long and by all means: sleep it over if you thought you were done, as by tomorrow morning you may think it is hideous and you will do it all over anyways, so at least you save the uploading time and don’t make a fool out of yourself in front of your friends announcing them over and over that NOW it is REALLY FINISHED.
Well, I have good friends. (I hope.)
As usual: if you are interested in seeing it before it is public contact me and I will send you the link and password. IF you are a very, very good person, only then. Of course.
Whale clips – break through – shall I laugh or shall I cry? The point is: don’t be so friggin’ anal, blurry looks more real
November 1, 2013
I think I lost count how many times I tried to re-shoot this whale film.
And just now I am having a major break-through, similar like last year with Koala’s picture in the “Each reflection echos a different emotion at me” - project.
Josiane Keller “Koala painted and butterfly” (2013)
Ha. Ha. Ha. I don’t know if I should laugh or cry, because it took me so long to get the point.
The point is: don’t be so friggin’ anal.
Simple, once one gets it.
So there are a number of details to say, but basically the Lord has blessed me with extreme nearsightedness, and I should better make use of that. Since my beloved granddaddy explained to me Monet and the Impressionists I know that blurry looks more real.
At the sacrifice of cutsieness!
Besides the fact that straight stage entrance from left or right side only will create a very flat image, no matter how three dimensional the models are I am working with.
Look here my test pics, for the first time some I do not need to be ashamed of:
Josiane Keller “EUREKA whale test pics” (2013)
Like I hadn’t learned anything in the last year!
Fine. Everything once more over….this time hopefully with decent success!
Halloween Interlude (whilst I am working on my sinking whale-scene): Jiri Barta “Poslední lup /The Last Theft” (1987), his teaser for “The Golem”, Taylor Hackford’s “The Devil’s Advocate” (1997), considering identical footage and 328 new shots
October 31, 2013
Whilst I’m re-doing the sinking whale scene, enjoy Jiri Barta’s “Poslední lup /The Last Theft” (1987), just right for the them of the day:
Jiri Barta “Poslední lup – The Last Theft” (1987)
Read more about Jiri Barta here: http://en.wikipedia.org/wiki/Ji%C5%99%C3%AD_Barta
If you got curious now and didn’t know it so far, here also a link to his teaser for the planned film “The Golem” (1996), which was supposed to be longer, but he didn’t get the funding….
I am wondering if it would be nice to have the sinking whale scene repeat form different angles. This was done in the 1997′s movie “The Devil’s Advocate” in the scene where Mary (played my the usually, here lesser so looking the more so acting gorgeous Charlize Theron) wakes up alone in the night and has a vision of a toddler playing with her ovaries.
The wake-up scene is there twice (identical footage) , but the second time even cut once more, so it seems like it was there three times.
Count how many times Mary is waking up and watching herself getting up and walking into the hallway.
Very interesting. All in all I have to turn that film a notch up to get it out of the sandbox its been dabbling around in so far. I know it has potential. So I have to be just a little longer pounding over it.
Technically that means if I wanted to make it exactly the lame length as the existing one and simply swap the two scenes it would be 334 stills from the version now minus 82 clips of the re-take from yesterday morning with a beautifully sinking whale, so total 252 new stills to do now, preferably with no scratches or dust marks on the glass. I better get going!
Ha! 328 shots later I am confident this time it is a good footage I am working with, but I will be working with it tomorrow, as it is midnight, as usual, and as an exception since no direct deadline is hanging over my head for once, I will call it a day!
But before I go, admire my beautiful swing of a clay dead whale sinking:
Josiane Keller “dead whale sinking once over 3″ (2013)
Like a whole school of fish. Oh well, for now I am working just on the one to get it right!
October 30, 2013
Overworked the sinking whale scene, came up with way improved motion:
Josiane Keller “whale sinking scene re-make” (2013)
Less puppetry feel and more real depth and 3D.
So we learned today: juts because it is light box do not ignore the third dimension.
… And am still unhappy as by now the glass has a lot of dust traces that show in my mind massively and annoyingly.
So I have to do it. Again.
Reminds me of friggin’ ballet school. Although that I enjoyed, somehow.
The next morning I found this fabulous spam in my spam filter. I have gotten into the habit to once and a while read the spam I get, after originally one friend’s comments accidentally ended in my spam box, and I find some of it unusually deep, entertaining or uplifting when just nobody else is around to be uplifting. Hey, anything goes, right?
Read this and weep with me: “If any one wants to be a successful blogger, afterward he/she must study this article “Each reflection of myself echoes a different emotion at me – 20 Heroes from the City of Roses” – production diary (LXXV) – The Coon | Josiane Keller , because it contains al} techniques related to that.”
Boy! Thanks, man!!
Tacky and cute animation or not, and if so: how to avoid it. A day of thinking. Hard and heavy. Some freaky spam ad as well, Regina Pessoa’s “Kali, the little Vampire”, comparing two images of clay embryo ‘Eileen’ and Yuri Norstein’s “Hedgehog in the Fog”
October 29, 2013
I am thinking about the two recent animations I made.
There is “Sallie Gardner…”, which originally out of time pressure was a very technical and visual piece. In fact as far as I can recall I have never made such a complicated piece that did not contain ANY secondary message, no philosophy, no life questions, nothing, only basically the animation equivalent of holing a kaleidoscope to one’s eye and mediating (or spacing out) of the shape and rhythm of a running horse. And the audience seems to love it.
Then there is part one of “I anyways live until I die – Song of the Whale”, which is of course far deeper and asks very essential human questions, maybe that is the reason why the enthusiasm about this piece is either not there or people express it most carefully.
I overworked all day yesterday the close-up whale scene, trying to get rid of the puppetry effect it had and that was bothering me enormously.
I am not sure to what extent I actually was successful with that, but it is definitely better from version one.
The question is: there is a number of award winning work out there, that could be cute or tacky or both, but then it isn’t.
Prime example, as mentioned earlier is “the little grey wolf” in Yuri Norstein’s “Tale of Tales”:
Yuri Norstein “Tale of Tales / the little grey wolf” (1979)
So, why is that not cute, or rather: why, although it is VERY cute, it does not overpower?
[*Meanwhile I got yet again some incredible piece of spam ad, which has the headline: "Will I ever get a boyfriend?" and then goes like this: "You now know the basics, but you need to go into things in a lot
more detail to be successful. And until you
come to that realization, any and all attempts to contact your boyfriend will backfire
and be met with resistance, not open arms. Of course,
their hobbies shouldn’t be the only defining factors
on this list."
Bloody hell, if only somebody had told me that earlier, my whole life would have turned out different!!! Too late now, so back to pondering on how to make the best animation ever!]
Then there is a recent film by Portuguese director Regina Pessoa that is taking the big prices everywhere, and it’s called “Kali, the little Vampire” (2012); so the question is: is it cute / tacky, or not? Or is it, but never mind?
and an interview with the director on the making of is right here: http://www.youtube.com/watch?v=yXKx8UMXe3E
I am just not sure how to do it and I admit I am thinking about that whale scene still.
For once one has to avoid being to literal. But too much poetry is maybe these days also a bit out-dated like a Tchaikovsky fairy-tale ballet. No matter the fact that it is still very marketable.
For example the embryo scene, which one works better, this one:
Josiane Keller “creepy Eileen on lightbox*” (2013)
(*couldn’t help but giving it that title!)
or this one:
Josiane Keller “embryo in womb test pic” (2013)
When is it too much said, in a visual sense?
Another piece to watch whilst thinking about the cute-question would be “The Hedgehog in the Fog”, also by Yuri Norstein, from 1975:
October 29, 2013
Since the recent death of Lou Reed is successfully stealing my show when I want to promote my revised whale animation I give in and BLOG about him. You want to talk about Lou Reed, let’s talk about Lou Reed, what else is left to do here?
So, watch this and sing along: http://www.youtube.com/watch?v=RsVLIiI8Vfo
Jean Baptiste Mondino “Lou” (2013)
Here is his official site: http://www.loureed.com/inmemoriam/
some more music: http://www.loureed.com/go/
and if I come across more stuff that fist here I will add it later on, too.
All I can say is my friend’s wife is a nurse and she took care of him during his liver transplant and she said he is a dick who was bossing her around. I give you that if your life is hanging on a thread and you are getting a friggin’ liver transplant you may not be in the most flowery mood. Well, it’s all over now anyways.
Studio Komorebi – I anyways live until I die – Song of the Whale, everything will be exactly the opposite from what you thought it was and I feel like the Jaques Cousteau of stop-motion animation
October 29, 2013
I was all day long (plus yesterday’s work) fixing the whale diving scene into a nice, dynamic, fluid motion, then adding more of Madeline’s gorgeous song and then adding it all just at that one very perfect moment together.
I learned TONS about what does not work and then about what does work, and one general insight I can come up with is: it seems to be when animating underwater animals in motion everything will be exactly opposite from what you had expected. That means: make the motion slow, when you wanted to do it fast, make it choppy when you thought if had to be more fluid, and the opposite of each of these statements also applies.
Another truth once again proved to apply, but that is something everybody interested in animation already knew anyways: great music or soundtrack is about a third of the animation. (Well, don’t pin me down to this math, I mean as a figure of speech!)
And now I am finished with it and VERY proud.
I feel competent and eager to become the Jacques Cousteau of stop-motion animation, hahahahahahahahahahahaha!!!!, and now, guess what? I am going to rest!
*Jacques Cousteau (1910-1997)
[*not an uncommon photo of him, but still I could not find out the name of the actual photographer, only a poster company that distributes the thing as a print; if you know: let me know!]
But I have the link to the Jacques Cousteau society, which is actually very interesting, so since I brought the topic up, read something about him here: http://www.cousteau.org/
and on wiki they say all this: http://en.wikipedia.org/wiki/Jacques_Cousteau
Back to my animation…
The film is password protected on my vimeo account and of course also here in my ANIMATION category:
so if you are interested you can ask me and I will send you the link and password so you can watch it.
Komorebi – five new valuable animation insights, fixing the whale-diving-off scene and some more fun spam of the day
October 27, 2013
OK, what have we learned so far for my KOMOREBI-style animation?
1; animation deadlines seem ALWAYS too close to make
2; I work better under time pressure
3; underwater scenes are a contradiction to the basics of stop motion animation
4; I love making underwater scenes in stop motion animation = challenge!!!
5; underwater creatures move SMOOOOOOOOTHLY and require more shots
6; land creatures move choppy which matches very well with the basics of stop motion animation
And now I am busy fixing the whale diving off scene according to these brand new insights:
Josiane Keller “I anyways live until I die – correcting the whale scene” (2013)
So what I have to do is cut some pics out of the clip as it is now and replace them with some of an earlier take, and of course finding the right ones that there won’t be another bump in the scene. Maybe like the above comparison might work. Time will tell!
*Hey, guys! More fun spam of today is this one, look: “This info “Each reflection of myself echoes a different emotion at me – 20 Heroes from the City of Roses” – production diary (LXXV) – The Coon | Josiane Keller is invaluable. When can I find out more?”
Hey, my info is INVALUABLE!!! This is lovely, thank you. I mean: at last here is someone who acknowledges my true importance on this planet! Invaluable!!! Makes my day, thanks Mr. Spam!
New animation: “I anyways live until I die” /whale scene, all about the making of (what I had no time to BLOG about during!), why we don’t pay attention to the fact that Norstein’s ‘little grey wolf’ is actually very cute and Komorebi
October 26, 2013
I am still in celebration mood, having completed (and even sent in time!) the animation. Wow, what a project! The last week I worked probably every night til 2:30 am… a little tired now and used to weird sleeping time.
The making of this was very challenging and very interesting, nothing like the “Sallie”-project at all. Not that I am saying the “Sallie” was not great and all that, but it was easier.
Josiane Keller “I anyways live until I die – whale diving” (2013)
you catch a fish and have a thriving ad sales business." Brilliant!!!]