Created by Smiling Wolf
Touched International Exhibition 18th September - 28th November 2010
At the Still Point of the Turning World. Animation dance performance. 2001. 22 minutes.
Director/ Animator: Jessica Langford
Choreographer: Norman Douglas Composer: Marina Adamia
In 2000 Jessica Langford received a Scottish Arts Council Creative Scotland Award to create an animation dance performance with animation as an integral part of the choreography. The animation is drawn in sand reflecting the theme of transience and time lost. ‘At the Still Point of the Turning World’ was performed at The Tron Theatre, Glasgow with the animation projected onto the dancers, a giant cyc and the stage covered with five tons of white sand!
At the Still Point of the Turning World. Animation dance performance. 2001. 22 minutes.
Director/ Animator: Jessica Langford
Choreographer: Norman Douglas Composer: Marina Adamia
In 2000 Jessica Langford received a Scottish Arts Council Creative Scotland Award to create an animation dance performance with animation as an integral part of the choreography. The animation is drawn in sand reflecting the theme of transience and time lost. ‘At the Still Point of the Turning World’ was performed at The Tron Theatre, Glasgow with the animation projected onto the dancers, a giant cyc and the stage covered with five tons of white sand!
At the Still Point of the Turning World. Animation dance performance. 2001. 22 minutes.
Director/ Animator: Jessica Langford
Choreographer: Norman Douglas Composer: Marina Adamia
In 2000 Jessica Langford received a Scottish Arts Council Creative Scotland Award to create an animation dance performance with animation as an integral part of the choreography. The animation is drawn in sand reflecting the theme of transience and time lost. ‘At the Still Point of the Turning World’ was performed at The Tron Theatre, Glasgow with the animation projected onto the dancers, a giant cyc and the stage covered with five tons of white sand!
The Gift. 2005. 9 minutes. Animated in sand.
Commissioned by Channel Four Television in association with Scottish Screen. The Gift was inspired by a Japanese legend I heard from the children at Hiroshima Animation Workshop. The film is animated in sand. The sensitive and subtle qualities of the sand allowed me to animate transformations, perspectives, scene changes and camera angles directly under the camera, so scenes flow into each other giving a sense of fragile transience. A young girl rescues a seal and meets a sea prince in his underwater palace. When she decides to return to her family, the lonely prince gives her a beautiful mysterious shell. Back home, she discovers that she has been away for many years. The house is in ruins and her family gone. In desperation she opens the shell...
The Gift was selected for over forty international film festivals including Edinburgh, Berlin, Palm Springs, Zagreb, Hiroshima and has won several awards.
The Gift. 2005. 9 minutes. Animated in sand.
Commissioned by Channel Four Television in association with Scottish Screen. The Gift was inspired by a Japanese legend I heard from the children at Hiroshima Animation Workshop. The film is animated in sand. The sensitive and subtle qualities of the sand allowed me to animate transformations, perspectives, scene changes and camera angles directly under the camera, so scenes flow into each other giving a sense of fragile transience. A young girl rescues a seal and meets a sea prince in his underwater palace. When she decides to return to her family, the lonely prince gives her a beautiful mysterious shell. Back home, she discovers that she has been away for many years. The house is in ruins and her family gone. In desperation she opens the shell...
The Gift was selected for over forty international film festivals including Edinburgh, Berlin, Palm Springs, Zagreb, Hiroshima and has won several awards.
The Gift. 2005. 9 minutes. Animated in sand.
Commissioned by Channel Four Television in association with Scottish Screen. The Gift was inspired by a Japanese legend I heard from the children at Hiroshima Animation Workshop. The film is animated in sand. The sensitive and subtle qualities of the sand allowed me to animate transformations, perspectives, scene changes and camera angles directly under the camera, so scenes flow into each other giving a sense of fragile transience. A young girl rescues a seal and meets a sea prince in his underwater palace. When she decides to return to her family, the lonely prince gives her a beautiful mysterious shell. Back home, she discovers that she has been away for many years. The house is in ruins and her family gone. In desperation she opens the shell...
The Gift was selected for over forty international film festivals including Edinburgh, Berlin, Palm Springs, Zagreb, Hiroshima and has won several awards.
The ancient philosopher certainly gave a wise counsel when he said, ‘Know thyself.’ For surely this Knowledge is of all the most important… A man cannot know himself better than by attending to the feelings of his heart and to his external actions, from which he may with tolerable certainty judge ‘what manner or person he is’. I have therefore determined to keep a daily journal of which I shall set down my various sentiments and my various conduct, which will be not only useful but very agreeable.
James Boswell,
15 November 1762
Such a busy time I'm having just now- and lots of interesting things still to come, but most of all I am looking forward to the rather charming and eccentric project Boswell in Space, for which work will begin at the end of September. I have a lot to live up to (see above quote) as I will be taking on the documentary stylings of a great writer/observer of human character, James Boswell. If you want to know the ins and outs of the project, read Mitch Miller's blog here. But for my part I am expecting to eke out the drama from this bizarre ride, bring the characters we encounter to life and find beauty in some odd corners of Britain. Not much to ask then! But I am looking forward to the challenge and to meeting some inspirational collaborators.
I am interested in the narrative aspect of the documentary, for while there will be plenty of facts and historical elements, there is also the story of the journey to tell. I recently wrote about American road movies for The Drouth magazine, where I explored the fascination between the motion picture camera and the rolling freeways of the US in the last century of American cinema. I find that celluloid is an aesthetically pleasing, modern medium for travel, and I wonder in the post modern days of high definition, if movement blur has lost something of its esoteric quality. Online documentary or what the industry is calling ‘interactive documentary’ has yet to find a familiar format. This makes it incredibly exciting for me to think of all the elements that can help construct the journey; animation, photography, film, sound and writing will all play their parts, but the task is a little daunting!
There have been a couple of interesting documentaries this year that have approached their subjects with multimedia methods. American: The Bill Hicks Story dispensed with talking head shots in favour of quirky animations which brought a young Bill Hicks back to his childhood years through animated photography. Amy Hardie’s Edge of Dreaming enters the filmmaker’s subconscious through beautiful animations and reveals some of her darkest thoughts. Online, I’ve looked at Maisie Crow’s multimedia project Hunger: Living with Prader-Willi Syndrome which is a simple but very effective use of photography, sound and moving image. These are all techniques I’ll be considering in the depiction of Boswell in Space, as we hope to create an interactive experience for the viewer, and make some room for online passengers on this picaresque adventure.
Viral animation produced for Leicestershire Fire and Rescue Service as part of a campaign to tackle local area arson.
The campaign is aimed at young adults between 9-12 and communicates equally well to visual, auditory and kinesthetic learners with a message of the dangers of fire.
Part 1 of a 2 part experimental motion graphic exploring the shifting identities of modern cities.
Part 2 explores the neglected and decaying city in which history is demolished for cheap solutions and progress.
Part 1 of a 2 part experimental motion graphic exploring the shifting identities of modern cities.
Part 1 explores the metropolitan and vibrant city identity of an area of wealth and progress.
Show reel for 19 Grams Graphic Design showing our brand values and broad skill set. Created as part of an award winning presentation for the Creative Leicestershire Graduate Start-Up Award 2010.
A short animation I made for the tripping up trump campaign group.
Tripping Up Trump have a plot of land that Donald Trump wants to build his golf course on.
Sign up now to be part of the plot. Join us in The Bunker.
Stand with the local families of Menie who face eviction from their homes because of Donald Trump's demand upon Aberdeenshire Council to use compulsory purchase orders.
Trump said he didn't need this land, but now he's after the homes of local families and they won't sell.
74% of Scottish people are against Trump on this basis. Just 13% support him. Over 15,000 of us have already signed a petition to Aberdeenshire Council in opposition.
Let's stand up to Trump and stop the evictions.
Join us at thebunker.org.uk
Please ask your family and friends to do the same.
music: Lea Rigs by Lea Nicholson
archive.org/details/TheConcertinaRecord
Homepage Images
01 September 2010
Every week, one artist's work will be chosen and featured, the only stipulation, that they've uploaded enough (i.e. at least 4) images in the prior week.
It's all about getting your work seen.
Continuing our new series of Homepage galleries, this week we're dedicating the whole of the Homepage to the work of samspreckley.
Sam is a moving image artist, illustrator and sound designer who divides his time between Berlin, Dundee and Aberdeen.
Check out samspreckley's showcase, watch his stop-motion animation for Rozi Plain here, and a short experimental film included in our Yuck & Yum Collection here, and head over to his profile to say hello! And remember, get uploading your own work for next week's Homepage...
Step into the streets of Sydney and feel an inviting hum of wonder blaze around you. Wide city streets, full of activity, slowly spread out into magnificent yacht filled bays weaving around the meandering coast. Made up of many different areas, Sydney is an incandescent mesh of sundry villages. Each part has its own distinctive residents, atmosphere and elusive forms of creativity waiting to be discovered: galleries hidden in residential areas, markets by the beach, and pop up designer boutiques in bars or abandoned shops. The scaffolding of art and design societies here is constantly expanding and interchanging. Everything feels new and exciting; almost raw. Waterloo, Paddington and Surrey Hills are home to some super galleries in Sydney. Ambush Gallery in Waterloo recently held THE KEG SHOW, an exhibition of beer kegs designed by twelve artists. Sponsored by the Element Advocate programme, THE KEG SHOW was curated by Rick Bannister with each sale going to a charity of the artist’s choice.


Another superb exhibition was on recently at China Heights Gallery in Surrey Hills. THIS IS HOW WE ROLL was a group exhibition organised by J'aime Fazackerley by 24 Australian and international artists who share a common love for skateboarding and its culture.
Claire Orrell had some beautiful work at this show:
I loved her work so asked for some details about her life and work. This is what she said; 'I hail from London, but have been out in Sydney for just over 4 years. I studied Graphic Design at Nottingham Trent and then worked in an agency in the UK for 3 years. Then I came over here on a working holiday visa as a challenge to myself to try and and live in another country and ended up staying. I freelanced for the first year and then got a job doing the design for the Museum of Contemporary Art where are stayed for 3 years. In March this year I went back to working in a commercial design studio. I miss working in the arts but I wanted a mix of clients again.
Recently though, although I get to work on a lot of illustrative projects through my day job, I've really wanted to start creating my own work. I've had some freelance contracts over the last 6 months where I've got to explore this and I've also started doing my own artwork again. I only just got my residency and a series of 6 month contracts at the MCA made me feel very unsettled. I'm so glad I've started again, It makes me feel so happy and inspired (i'm sure you know the feeling!). I'm also exploring animation and my housemate (a filmmaker) and I recently got into the top 5 of an animation competition at Sydney Opera House, you can view it here: http://play.sydneyoperahouse.com/index.php/graphic/868.html
I'm hoping to be able to develop this side of my work more in future and to continue to evolve my own creative practice.'
There was also some great work by Lewis (Dr Dolomite) Buttle, Gibson Fox, J'aime Fazackerley and Leo James.
Another good place for exploring is Paddington, a beautiful residential area in Sydney, packed with buried delights. The Saturday markets are filled with young designers and the whole area is dotted with brilliant shops and galleries. You can also have a game of lawn bowls, which is surprisingly popular with young people here. It also leads to Rushcutters Bay, where you can have pancakes and watch the boats come and go.


The best part about working in Sydney is that you can live on the beach, watch the waves roll in while eating breakfast, surf every day if you like, and still feel the glow of that not-so-distant hum. It is not easy to find the hidden gems of Sydney, but the hush-hush is exceedingly endearing.
spent an hour in sentry box trying to find inspiration for some studio branding - left with 3 boxes of worry dolls. nice colours
Television Installation
I have spliced together a number of hand drawn static images, creating an animation. This animation was then played on several television sets. The animation replicated the pace and movement of real television static.
here is a link to my first animation SPACEMAN,
http://www.youtube.com/watch?v=WwgeAW4osK4