Re:animate by Matthew Richardson

RE:animate

26 June – 18 August 2010 26 Mehefin – 18 Awst 2010

RE:animate

Kate Allen Edwina Ashton Bermingham & Robinson Sara Bjarland Patrick Blower Pia Borg Richard Bowers Sara Brannan Savinder Bual Bronwen Buckeridge John R Burns Ruth Carter & Tom Gilhespy Joe Clark Criostoir Kristian de la Riva Helen Grove-White Anne Guest Adam Kossoff Jo Lawrence Sharon Leahy-Clark Ruth Martindale Duncan McKellar Georgina McNamara Sophie Michael Sibyl Montague oriel davies open 2010 Helena Ă&#x2013;hman McCardle Sam Rees William Rounce James Snazell Mary Somerville Sally Stevens Chris Stockbridge Tim Stokes Jacki Storey David Theobald Annabel Tilley Sean Vicary Neil Wissink Simon Woolham

animation

01 Introduction

The term derives from the Latin ‘anima’ meaning life, and ‘animare’ meaning to breathe life into. Throughout history and across the world, the urge to employ various techniques to present an impression of moving images has been profound - from cave drawings, magic lanterns, flick books and thaumatropes to cel animation, stop-motion film and computer generated imagery. In this exhibition, works range from depictions of image sequences, both statically and in rapid succession, to actual moving objects while also exploring the possibilities of non-narrative structure and alternative realities. Through installation, projection, photography and drawing, the resulting show presents a rich collection of dynamic experimental works and compelling visual encounters.

The works in RE:animate have been chosen by a selection panel comprising Ceri Hand (Director, Ceri Hand Gallery, Liverpool), Peter McLuskie (Flip Animation Festival Organiser, Light House, Wolverhampton), Lorna Thomas and Allegra Mansini-Barker (Oriel Davies Young Curators) and Alex Boyd (Curator, Oriel Davies Gallery). The process of identifying specific works focused on quality, innovation and originality in order to produce a cohesive and engaging exhibition of contemporary work within this particular area of practice.

We are delighted to award prizes to selected individuals in the show, made possible with generous support from our Principal Sponsor, Whittingham Riddell. The prizes being awarded are: The Whittingham Riddell 1st Prize for the overall winner; 1st Prize in the student category; two 2nd prizes in both categories; and a Peopleâ&#x20AC;&#x2122;s Choice Prize, sponsored by Newtown Station Travel. In addition to their awards, both 1st Prizewinners will be given a solo show at Oriel Davies in 2011. We would like to offer our warmest thanks to all those who have enabled this project to take place; in particular Whittingham Riddell, Arts & Business Cymru, Newtown Station Travel, Imprint and Oriel Daviesâ&#x20AC;&#x2122; funders. Many thanks are also due to our guest selectors and judges who worked hard during the process; Ceri Hand, Peter McLuskie, Lorna Thomas and Allegra Mansini. Finally, our biggest thanks go to all the artists who have entered the Oriel Davies Open 2010. Alex Boyd, Curator, Oriel Davies Gallery

02 Introduction

Fourth in the series of Oriel Davies biennial Open exhibitions, RE:animate showcases an inspirational selection of work by 39 artists from across the UK. This time round, submissions were invited from individuals whose practice or specific works have taken into consideration the notion of animation in diverse and intriguing ways. Our intention and aspiration has been to offer opportunity for expanded and broad interpretation of this discipline while using the gallery space as an alternative viewing context.

03 Rhagarweiniad

animeiddio

Mae’r term yn deillio o’r gair Lladin ‘anima’, sy’n golygu bywyd, ac ‘animare’, sy’n golygu i anadlu bywyd i mewn i rywbeth. Drwy gydol hanes ac o amgylch y byd, mae’r cymhelliad i ddefnyddio technegau amrywiol i roi’r argraff bod lluniau’n symud wedi bod yn brofiad dwys - o luniau mewn ogofau, llusernau hud, llyfrau fflic a thawmatropau i animeiddio ar ffilm, ffilmiau stopio symudiadau a delweddau sydd wedi cael eu cynhyrchu gan gyfrifiadur. Yn yr arddangosfa hon, mae’r gwaith yn amrywio o ddisgrifio cyfresi o luniau, rhai’n llonydd a rhai’n dilyn ei gilydd yn sydyn, i wrthrychau sy’n symud o ddifrif. Ar yr un pryd, mae’n archwilio posibiliadau strwythurau nad ydyn nhw’n dilyn trefn naratif ynghyd â gwirioneddau amgen. Drwy osodiadau, tafluniadau, ffotograffiaeth a lluniau, mae’r sioe yn cyflwyno casgliad cyfoethog o waith arbrofol, deinamig ynghyd â nodweddion gweledol llawn cymhelliant.

Mae’r gwaith yn RE:animate wedi cael eu dewis gan banel dethol sy’n cynnwys Ceri Hand (Cyfarwyddwr, Ceri Hand Gallery, Lerpwl), Peter McLuskie (Trefnydd Flip Animation Festival, Light House, Wolverhampton), Lorna Thomas ac Allegra Mansini-Barker (Curaduron Ifanc Oriel Davies) ac Alex Boyd (Curadur, Oriel Davies Gallery). Roedd y broses o ddewis gwaith penodol yn canolbwyntio ar ansawdd, arloesi a gwreiddioldeb, er mwyn cynhyrchu arddangosfa gydlynol a deniadol o waith cyfoes ym maes penodol yr arfer hwn.

Mae’n bleser gennym ddyfarnu gwobrau i unigolion yn yr arddangosfa, drwy gefnogaeth hael ein Prif Noddwyr, Whittingham Riddell. Y gwobrau sy’n cael eu dyfarnu yw: Gwobr 1af Whittingham Riddell ar gyfer yr enillydd cyffredinol, Gwobr 1af yn y categori i fyfyrwyr; dwy 2il wobr yn y ddau gategori; a Gwobr Dewis y Bobl, sy’n cael ei noddi gan Newtown Station Travel. Yn ychwanegol i’w gwobrau, bydd y ddau enillydd 1af yn cael cynnig sioe unigol yn Oriel Davies yn 2011. Bydd Gwobr Dewis y Bobl yn cael ei chyhoeddi’n gynnar ym mis Awst. Hoffem estyn diolch i’r holl rai hynny sydd wedi caniatáu i’r rhaglen hon i gael ei chynnal: yn enwedig Whittingham Riddell, Arts & Business Cymru, Newtown Station Travel, Imprint a noddwyr Oriel Davies. Dylid diolch yn fawr hefyd i’n detholwyr a’n beirniaid gwadd sydd wedi gweithio’n galed yn ystod y broses; Ceri Hand, Peter McLuskie, Lorna Thomas ac Allegra Mansini. I orffen, hoffem ddiolch yn arbennig i’r holl artistiaid sydd wedi cystadlu yn Arddangosfa Agored Oriel Davies 2010. Alex Boyd, Curador, Oriel Davies Gallery

04 Rhagarweiniad

Mae RE:animate, y bedwaredd arddangosfa agored mewn cyfres o arddangosfeydd sy’n cael eu cynnal pob dwy flynedd gan Oriel Davies, yn arddangos detholiad ysgogol o waith gan 39 o artistiaid o ledled y DU. Y tro hwn, gwahoddwyd cyflwyniadau gan unigolion y mae eu harfer neu eu gwaith penodol yn archwilio’r syniad o animeiddiad mewn ffyrdd amrywiol ac arbrofol. Ein bwriad a’n dyhead oedd cynnig cyfle i ddehongli’r ddisgyblaeth hon yn fwy eang, ac ar yr un pryd, defnyddio’r oriel fel cyd-destun amgen i weld pethau.

06 Train 2009

Savinder Bual

07 Scape 2009

James Snazell

09 Afterburn 2009

John R Burns

10 10

11 Steam Cage 2010

Ruth Carter and Tom Gilhespy

12 Blossom 2008

Sara Bjarland

13 Flight 2009

Sara Bjarland

15 Psycho 2009

Anne Guest

16 Train Lines 2009

Adam Kossoff

17 The Winnersh Triangle 2009

David Theobald

18 Such a Strange Face 2010

Sam Rees

19 Mr Panz at Lake Leman 2010

Edwina Ashton

Sharon Leahy-Clark

22 Some made it, some didnâ&#x20AC;&#x2122;t 2006

23 Cut 2009

Kristian De La Riva

24 Untitled 2009

Criostoir

25 The Human Body 2009

Sally Stevens

27 Papermaking Hampstead Heath 2010

Ruth Martindale

29 48 Hours in Moscow 2008-09

Duncan McKellar

30 48 Hours in Moscow 2008-09

31 Glover 2010

Jo Lawrence

33 TJ 2009

Tim Stokes

35 Last Island 2009

Sibyl Montague

36 Totem 2009

37 RE-TOLLED 2010

Sean Vicary

39 The Wood Engine 2010

Simon Woolham

40 One Thing After Another 2 2009

William Rounce

41 Shaft / Ground 2009

Sophie Michael

43 Cipher 2009-10

Neil Wissink

45 Unbecoming 2010

Jacki Storey

47 Abstractus Fluxus 2010

Patrick Blower

49 The Future Will Be Little Different From The Past 2006

Bermingham & Robinson

50 Work No.14 2010

Sara Brannan

51 Continuous Journey One 2010

Mary Somerville

53 Circle 2010

Kate Allen

54 The second tallest tree in Josef Fritzlâ&#x20AC;&#x2122;s garden 2009

Annabel Tilley

55 Relative Space, Father / Son 2009

Chris Stockbridge

57 To The Memory of M.A. Vorontsova 2009

Bronwen Buckeridge

59 Untitled (After Baldessari) 2010

Georgina McNamara

61 Candles 2009

Helena Ă&#x2013;hman McCardle

62 Good Gateshead Light 2009 1st Light Zagora 2009

Joe Clark

63 The Velvet Lantern 2010

Richard Bowers

65 Palimpsest 2009

Pia Borg

67 The incredible lightness of being 2010

Helen Grove-White

Kate Allen Edwina Ashton Bermingham & Robinson Sara Bjarland Patrick Blower Pia Borg Richard Bowers Sara Brannan Savinder Bual Bronwen Buckeridge John R Burns Ruth Carter & Tom Gilhespy Joe Clark Criostoir Kristian de la Riva Helen Grove-White Anne Guest Adam Kossoff Jo Lawrence Sharon Leahy-Clark Ruth Martindale Duncan McKellar Georgina McNamara Sophie Michael Sibyl Montague artists statements Helena Ă&#x2013;hman McCardle Sam Rees William Rounce James Snazell Mary Somerville Sally Stevens Chris Stockbridge Tim Stokes Jacki Storey David Theobald Annabel Tilley Sean Vicary Neil Wissink Simon Woolham

Kate Allen

Edwina Ashton

Woven into a series of unstable historical narratives the artwork or art object undeniably exists, enduring only through reading, re-reading and re-invention. What this endurance of the artwork or art object can reveal about the nature of history is central to my practice.

The film Mr Panz at Lake Leman follows the daily habits of a detached, socially awkward elephant naturalist, who lives in a crumbling hotel on the banks of Lake Geneva. After a bracing morning routine, he spends the day remembering incidents and images from his childhood and looking for butterflies. Both are elusive and he returns to the hotel. There he has dinner alone except for passing encounters with a beetle and the hotel’s elderly waiters.

Through stages of ‘mediated interpretation’, in this case through photography, drawing and the drawing as a projected image, there is an attempt to move away from the original object toward its imagined or fictional life. Wedi’i wau i mewn i gyfres o naratifau hanesyddol ansefydlog, ni ellir gwadu bod y gwaith celf neu’r gwrthrych celf yn bodoli, ac mae’n parhau dim ond trwy ddarllen, ail ddarllen ac ail ddyfeisio. Mae’r hyn y gall dygnwch y gwaith celf neu’r gwrthrych celf ei ddatgelu am natur yr hanes yn ganolog i’m gwaith. Trwy gamau o ‘ddehongliad cyfryngol’, yn yr achos hwn drwy ffotograffiaeth, dyluniad a dyluniad fel delwedd a daflunnir, mae cais i symud oddi wrth y gwrthrych gwreiddiol tuag at ei fywyd ffug neu’r bywyd sydd wedi’i ddychmygu amdano.

Circle (p.53) 2010, 35mm slide projection, steel and MDF stand, image size approx 30 x 40cm

Mae’r ffilm Mr Panz at Lake Leman yn dilyn arferion pob dydd naturiaethwr eliffantod unig sy’n gymdeithasol lletchwith ac sy’n byw mewn hen westy maluriedig ar lannau Llyn Genefa. Ar ôl ei arferion boreol ffres, mae’n treulio’r diwrnod yn cofio digwyddiadau a delweddau o’i blentyndod ac yn chwilio am loÿnnod byw. Mae’r ddau’n wibiog ac anodd eu dal ac mae’n dychwelyd i’r gwesty. Yno mae’n bwyta ei ginio ar ei ben ei hun heblaw am ymddiddan byr gyda chwilen a hen weinyddion y gwesty. Mr Panz at Lake Leman (p.19-20) 2010, Animation and sound, duration 6mins

Bermingham & Robinson

Sara Bjarland

Forms of animation play a large part in Bermingham & Robinson’s work. Repetitive acts and pastimes such as sewing, playing, cross-stitching, sequential sketching and mark making, become a metaphor for the artists’ disappointment with contemporary life. In contrast to the optimism of their youth – where Tomorrow's-World-technology promised to solve all the world’s ills – modern life brings about a certain disappointment as it plays over the same problems, anxieties and challenges again and again: war, tragedy, fear of the ‘other’ and mortality.

I’m interested in the meaning of animation as in ‘bringing to life’ or ‘giving movement to the still’, and I explore this concept through different media. I often use the projected frame as a space where movement can be represented, but have recently started making installations which involves actual movement of an object. I think animation can be many things; perceived movement on the screen, or the mere suggestion of a movement, which is then completed in the spectator’s mind.

The Future Will Be Little Different From The Past (p.49) 2006, Cross–Stitch, 5 panels, 54 x 40cm each

Blossom (p.12) 2008, Video (silent), duration 3mins Flight (p.13-14) 2009, Installation, 12 x 12 x 25cm

Mae ffurfiau animeiddiad yn chwarae rhan fawr yng ngwaith Bermingham a Robinson. Mae difyrrwch a gweithgareddau ailadroddus megis gwnïo, chwarae, pwytho croes, braslunio dilyniannol a gwneud marciau, oll yn datblygu’n drosiad ar gyfer siomiant yr artistiaid yn y bywyd cyfoes. Yn wahanol i optimistiaeth eu hieuenctid – pan oedd technoleg Byd Yfory’n addo datrys holl wendidau’r byd mae bywyd modern yn dod â rhyw fath o siomiant iddo wrth iddo chwarae drwy’r un problemau, pryderon a heriau drosodd a throsodd: rhyfel, trasiedi, ofn y ‘llall’ a marwoldeb.

Mae gen i ddiddordeb mewn animeiddiad yn yr ystyr o ‘ddod â rhywbeth yn fyw’ neu ‘roi symudiad i’r llonydd’, ac rwy’n archwilio’r syniad yma drwy wahanol gyfryngau. Yn aml iawn, rwy’n defnyddio’r ffrâm daflunedig fel gofod lle gallaf gynrychioli symudiad, ond yn ddiweddar, rwyf wedi dechrau gwneud gosodiadau sy’n cynnwys symudiad gwirioneddol gwrthrych. Yn fy marn i, mae gan animeiddiad nifer o ystyron; symudiad y gallwch ei ddeall ar y sgrin, neu ddim ond awgrymiad o symudiad, sydd wedi’i gwblhau ym meddwl y gwyliwr.

Patrick Blower

Pia Borg

I’m concerned with the dynamics of drawing and expanding the possibilities of narrative by digital means. I emphasise process and flux above the end result or punchline. Brave New Dystopia (segment) is an ongoing, episodic, satirical cartoon that reveals itself stroke by stroke in an endlessly-evolving panorama. Abstractus (segment) is conceived by Fluxus finger-painting on an iphone during idle or snatched moments. Re-visiting the tropes of abstraction, it presents a constantly-mutating and unfinishable digital painting.

Palimpsest explores the reconstruction of time and space. This is executed by representing one fixed location (a house) over a period of three centuries compressed into ten minutes and unravelled through a combination of 'time-lapse', real time, and stop frame photography. The camera is fixed as the 'space' itself transforms, destructs and evolves with the passage of time. Historical periods are played toward archetypes of how we understand these periods through constructed references to 17th, 18th and 19th century painting and early 20th century cinema.

Rwy’n gweithio gyda’r ddynameg o dynnu llun ac ehangu posibiliadau adrodd hanes drwy ddulliau digidol. Rwy’n pwysleisio proses a fflwcs yn uwch na’r canlyniad ar y diwedd neu’r llinell ergyd. Mae Brave New ^ Dystopia (cyfran) yn gart wn parhaus, episodaidd, dychanol sy’n ei ddatgelu ei hun bob yn llinell mewn panorama sy’n esblygu’n ddiddiwedd. Mae Abstractus Fluxus (cyfran) wedi’i greu drwy beintio gyda’r bysedd ar i-ffôn yn ystod munudau o wneud dim neu enydau dirybudd. Mae ailedrych ar drosiadau haniaeth yn cyflwyno peintiad digidol nad oes modd ei gwblhau sy’n newid yn barhaol.

Brave New Dystopia 2010, Animation and sound, duration 5mins Original soundtrack by Gerry AKA Abstractus Fluxus (p.47-48) 2010, Animation and sound, duration 5mins Original soundtrack by Gerry AKA

Mae Palimpsest yn archwilio adluniad amser a gofod. Mae’n gwneud hyn drwy gynrychioli un lleoliad sefydlog (t^y) dros gyfnod o dair canrif wedi’i gywasgu i mewn i ddeg munud ac yn ei ddatod drwy gyfuniad o ‘dreigl amser’, amser real, a ffotograffiaeth ffrâm stopio. Mae’r camera wedi’i osod yn llonydd wrth i’r ‘gofod’ ei hun weddnewid, dinistrio ac esblygu wrth i amser fynd heibio. Chwaraeir cyfnodau hanesyddol trwy roi archdeipiau o’r ffordd rydym yn deall y cyfnodau hyn drwy gyfeiriadau lluniedig at beintiadau o’r 17eg, 18fed a 19eg canrif a sinema blynyddoedd cynnar yr 20fed ganrif. Palimpsest (p.65-66) 2009, 16mm transfer and sound, duration 10mins 20secs

Richard Bowers

Sara Brannan

Richard Bowers' development of The Velvet Lantern has resulted in a live performance, a concert and this present version. The title is both literal and metaphorical: describing the flaming beacon fashioned from a cloak to warn endangered ships in Hitchcock's ‘Jamaica Inn’; and signifying the projector casting its soft images onto the cinema screen.

As an extension of my sculptural practice I am excited by the possibilities of animation and I’m using the medium to promote ideas that I am unable to do in conventional sculpture. I am shifting the location of the object from being wholly material into the realms of digital art and in doing so can play with form, movement and perception.

In this version, two seconds of film are extended to over six minutes by the addition of some 10,000 interpolated frames, illuminating the darkness between cinematic moments. Mae datblygiad Richard Bowers o The Velvet Lantern wedi sbarduno perfformiad byw, cyngerdd a’r fersiwn presennol yma. Mae’r teitl yn llythrennol ac yn drosiadol: gan ddisgrifio’r oleufa danllyd wedi’i chreu o glogyn i rybuddio llongau sydd mewn perygl yn ‘Jamaica Inn’ Hitchcock; ac yn arwyddocáu’r taflunydd yn taflu ei luniau meddal ar sgrin y sinema. Yn y fersiwn yma, mae dwy eiliad o ffilm wedi’i ymestyn i fwy na chwe munud trwy ychwanegu oddeutu 10,000 o fframiau wedi’u rhyngosod, sy’n goleuo’r tywyllwch rhwng enydau sinematig.

The low-res DIY ethic of my practice is continued by using basic tools and equipment to produce the works. Fel estyniad i’m cerflunwaith, mae posibiliadau animeiddiad yn fy ngwefreiddio ac rwy’n defnyddio’r cyfrwng i hybu syniadau na allaf eu gwneud mewn cerflunwaith confensiynol. Rwy’n symud lleoliad y gwrthrych o fod yn gwbl faterol i fyd celf ddigidol ac, wrth wneud hynny, gallaf chwarae gyda ffurf, symudiad a chanfyddiad. Rwy’n parhau ag arferion DIY anghroyw fy ngwaith trwy ddefnyddio offer a chyfarpar sylfaenol i gynhyrchu’r gwaith. Work No.14 (p.50) 2010, Animation (silent), duration 11secs (loop)

The Velvet Lantern (p.63-64) 2010, Video and software (silent), duration: infinite variations

Savinder Bual

Bronwen Buckeridge

I am interested in dismantling and challenging visual perception through notions of moving and still images. My wonder at the illusion of the moving image sparks the creation of hybrid works amalgamating the pre-cinematic and the digital, juxtaposing material and immaterial whilst exploring cinematic space and conventions.

My practice is an investigation into the modes and conventions of narrative and the related production of meaning. I use sound, video and installation to explore what happens when the central constructs of narrative are dismantled or applied in an unexpected context.

Using hand-powered devices containing pencil drawings or the animation of a single photograph, the addition of movement transforms and breathes life into the everyday materials, inviting the viewer to enter the work. Mae gen i ddiddordeb mewn datgymalu a herio canfyddiad gweledol drwy’r syniad o symudiad a llonyddwch. Mae’r wefr a gaf o weld lledrith y llun symudol yn fy sbarduno i greu gwaith hybrid sy’n cyfuno’r cyn-sinematig a’r digidol, gan gyfosod y materol a’r anfaterol ac ar yr un pryd archwilio confensiynau a gofod sinematig. Trwy ddefnyddio dyfeisiau sydd wedi’u pweru â’r llaw sy’n cynnwys lluniau pensel neu animeiddiad ffotograff unigol, mae ychwanegu symudiad yn trosglwyddo ac yn anadlu bywyd i mewn i ddefnyddiau pob dydd, gan wahodd y gwyliwr i fynd i mewn i’r gwaith.

Train (p.06) 2009, DVD and sound, duration 1sec (loop)

I work freely between found and recorded material, constructing sequences and reordering archive fragments to tease out stories which might otherwise remain hidden or pass unnoticed. Mae fy ngwaith yn ymchwiliad i foddau a chonfensiynau naratif a chynhyrchiad ystyr sy’n berthnasol i hynny. Rwy’n defnyddio sain, fideo a gosodiad i archwilio’r hyn sy’n digwydd pan fydd lluniad canolog naratif yn cael ei ddatgymalu neu ei ddefnyddio mewn cyd-destun annisgwyl. Rwy’n gweithio’n hyblyg rhwng defnydd a ganfuwyd a defnydd a recordiwyd, gan adeiladu dilyniannau a rhoi darnau o archif mewn trefn wahanol i annog straeon a fyddai fel arall yn aros ynghudd efallai neu’n digwydd heb i neb sylwi arnynt. To The Memory of M.A. Vorontsova (p.57-58) 2009, Video installation, duration 5mins 31secs

John R Burns

Ruth Carter & Tom Gilhespy

I practice as an illustrator, animator and educator. My work considers the aesthetic and emotional aspects of the non-solid.

Two years ago Ruth Carter, a documentary filmmaker and Tom Gilhespy, a sculptor, began collaborating on a series of experimental films, multi screen films and film installations. This short piece is from the series Cage in Wales. It begins as a humorous homage to John Cage but seems to take on a darker nuance towards the end.

Afterburn (p.09-10) 2009, Animation and sound, duration 5mins

Their work has gained international recognition and been exhibited at The Tallinn Print Triennial, Kumu, Estonia and Pushkinskaya 10, Manez, St. Petersburg, Russia. Dwy flynedd yn ôl, dechreuodd Ruth Carter, sy’n wneuthurwr ffilmiau dogfennol a Tom Gilhespy, cerflunydd, gydweithio ar gyfres o ffilmiau arbrofol, ffilmiau sgriniau niferus a gosodiadau ffilm. Mae’r darn byr yma o’r gyfres Cage in Wales. Mae’n dechrau fel gwrogaeth ddoniol i John Cage ond mae fel petai’n mabwysiadu naws fwy tywyll tuag at y diwedd. Mae eu gwaith wedi derbyn cydnabyddiaeth ryngwladol ac mae wedi bod mewn arddangosiadau yn y Tallinn Print Triennial, Kumu, Estonia a Pushkinskaya 10, Manez, St. Petersburg, Rwsia. Steam Cage (p.11) 2010, DVD and sound, duration 1min 24secs

Rwy’n gweithio fel darluniwr, animeiddiwr ac addysgwr. Mae fy ngwaith yn ystyried agweddau esthetaidd ac emosiynol yr an-solid.

Joe Clark

Criostoir

Joe Clark works with photography in a broad sense, taking a hybridising approach to his practice - in this case, expanding its scope to include an explicitly temporal component. In Good Gateshead Light, by animating with only light, he is taking the ordinarily fixed and stable photographic image and conferring an unfamiliar instability. Whilst 1st Light Zagora expands on this approach - introducing both editing and a playful approach to foley to introduce and labour the idea ofan ‘other’ whilst drawing attention to its construction.

Criostoir’s work facilitates the idea of providing and broadening a given narrative. Creating works which provide the audience with multiple ways of viewing, thus giving the viewer the opportunity to create their own narratives. Using imagery from film, he then changes the work and puts it on a new platform for the audience to recreate. ‘The changing narrative’ can be initiated by the viewer not just the artist: always changing. The subjective is more important and exciting to him.

Mae Joe yn gweithio gyda ffotograffiaeth mewn ystyr eang, gan weithio mewn ffordd sy’n creu hybrid – yn yr achos hwn, mae’n ehangu ei gwmpas i gynnwys cydran sy’n amlwg amserol. Yn Good Gateshead Light, trwy animeiddio gyda golau yn unig, mae’n cymryd y ddelwedd ffotograffig sefydlog a llonydd arferol ac yn rhoi ansefydlogrwydd anghyfarwydd iddo. Mae 1st Light Zagora yn ehangu ar y dull yma – gan ei olygu a chyflwyno dull chwareus iddo er mwyn cyflwyno a gwthio’r syniad o ‘arall’ gan hefyd dynnu sylw at ei adeiladwaith.

Good Gateshead Light (p.62) 2009, DVD and sound, duration 5mins 1st Light Zagora (p.62) 2009, DVD and sound, duration 5mins 30secs

Mae gwaith Criostoir yn hybu’r syniad o ddarparu ac ehangu naratif penodol. Mae’n creu gweithiau sy’n rhoi ffyrdd niferus o’u gwylio i’r gynulleidfa, gan felly roi’r cyfle i’r gwyliwr greu ei naratif ei hun. Trwy ddefnyddio delweddau o ffilm, mae wedyn yn newid y gwaith ac yn ei roi ar lwyfan newydd i’r gynulleidfa ei ail-greu. Gall y gwyliwr, nid dim ond yr artist, ddechrau’r “naratif sy’n newid”. Mae’n newid drwy’r amser. Mae’r goddrychol yn bwysicach ac yn fwy cyffrous iddo. Untitled (p.24) 2009, Animation (silent), duration 20secs (loop)

Kristian de la Riva

Helen Grove-White

My images and animations focus on habitual, archetypal patterns of human behaviour. In my work I use a minimally drawn black line, which is used to animate the actions of male and female figures. The characters for the work are taken from real footage, often of myself, yet all detail, clothing and facial features, are stripped away to create generic representations of a man or a woman. Such a reduction in the use of the human form often creates in the work a playful cartoon-like edge that sits in contrast to the layered complexity of the serious issues addressed.

This video piece arises out of a series of works on climate change and weather. My practice makes varied use of digital media in an exploration of the environment and the place of social beings within it.

Cut (p.23) 2009, Animation and sound, duration 3mins

Mae’r darn fideo yma’n deillio o gyfres o weithiau ar newid yn yr hinsawdd a thywydd. Mae fy ngwaith yn gwneud defnydd amrywiol o gyfryngau digidol wrth archwilio’r amgylchedd a lle bodau cymdeithasol oddi mewn iddo. Er bod hwn wedi’i ffilmio’n uniongyrchol o’r byd naturiol (astudiaeth agos o oleuni ar ddefnynnau glaw yn ystod cawod), mae’r gwaith hwn wedi’i gyflwyno ar gyfer y sioe yma fel darn haniaethol sydd ag elfennau sy’n rhyfeddol debyg i animeiddiad digidol, gan godi cwestiynau am natur y cyfrwng. Drwy osod dau neu fwy o ddilyniannau tebyg mewn haenau, mae’n defnyddio prosesau ffilm naturiol uniongyrchol a dulliau digidol synthetig ar yr un pryd. The incredible lightness of being (p.67-68) 2010, Video (silent), duration 3mins 80

Mae fy lluniau a’m gwaith animeiddio’n canolbwyntio ar batrymau arferol, archdeipiau o ymddygiad dynol. Yn fy ngwaith rwy’n defnyddio llinell ddu, wedi’i thynnu’n finimol i animeiddio gweithredoedd y ffigurau dynion a merched. Rwy’n cymryd y cymeriadau ar gyfer y gwaith o ddarnau ffilm go iawn, ohonof i fy hun yn aml iawn, ac eto mae’r holl fanylion, y dillad a nodweddion yr wynebau, oll wedi’u tynnu er mwyn creu cynrychiolaeth generig o ddyn neu ferch. Mae gostyngiad o’r fath yn y ffordd y defnyddir y ffurf ddynol yn aml yn ^ creu naws chwareus, tebyg i gart wn yn y gwaith sy’n gwrthgyferbynnu’r haenau cymhlethdod yn y materion difrifol sydd dan sylw.

Although filmed directly from the natural world (a close study of light on raindrops during a shower), this work is presented for this show as an abstract piece with curious resemblances to digital animation, raising questions about the nature of the medium. By layering two or more similar sequences, both direct natural filmic processes and synthetic digital methods are employed.

Anne Guest

Adam Kossoff

Psycho is a re-presentation of selected dialogue from Hitchcock’s film ‘Psycho’ (1960) in a contemporary context using SMS text and emoticons. The dialogue is shown in the style of intertitles which were used to convey dialogue and descriptive narrative material in the era of the silent movie, and Hitchcock wrote intertitles for films in the early stages of his career.

Using computer animation, drawing is applied directly to the video image. While figure and ground are gradually drawn apart, two forms of perception are distinguished and the surface plane takes on an independence that traces the passing landscape, memorialising fragmented traces.

This animation creates the illusion of the drama unfolding in real time. Mae Psycho yn ail-gyflwyno deialog dethol o ffilm Hitchcock ‘Psycho’ (1960) mewn cyd-destun cyfoes gan ddefnyddio testun SMS ac emoticonau. Mae’n dangos y deialog ar ffurf rhyngdeitlau a ddefnyddiwyd i gyfleu deialog a defnydd naratif disgrifiadol yn oes y ffilmiau mud, ac ysgrifennodd Hitchcock ryngdeitlau ar gyfer ffilmiau yng nghyfnodau cynnar ei yrfa. Mae’r animeiddiad yma’n creu’r ddelwedd o ddrama’n datblygu mewn amser real.

Psycho (p.15) 2009, DVD and sound, duration 4mins 34secs

Gan ddefnyddio animeiddiad cyfrifiadur, rhoddir y darlun yn syth ar y ddelwedd fideo. Er bod y ffigur a’r ddaear yn cael eu gwahanu’n raddol, mae dau fath o ganfyddiad yn dod i’r amlwg ac mae’r arwyneb yn dechrau datblygu annibyniaeth sy’n olrhain y tirlun sy’n pasio heibio, gan goffaoli olion darniol. Train Lines (p.15) 2009, Animation and sound, duration 5mins 30secs

Jo Lawrence

Sharon Leahy-Clark

Glover is a stop motion animation integrating a masked actor, pixellation and printed glove puppets.

I work in an intuitive, quick, ‘hands-on’ way with all materials I use. My aim is to capture the rawness of the activity of making. All workings, such as fingerprints, are left visible, nothing is erased or polished.

Mae Glover yn animeiddiad symudol sy’n integreiddio actiwr mewn mwgwd, picseliad a phypedau menig wedi’u hargraffu. Mae ‘Glover’ yn teithio at ymyl y byd ar ôl iddo dderbyn map dirgel sy’n gweddnewid ei fodolaeth unlliw. Yn ‘Gloveland’, mae’n dod ar draws carnifal o greaduriaid rhyfedd, sy’n rhannol ddynol, rhannol anifail, rhannol faneg. Ar ôl iddo orfod brwydro yn erbyn bwystfil maneg ffyrnig, a’i ladd, mae ‘Glover’ yn dychwelyd o’r diwedd i’w weithdy ac yn gwneud menig o groen y creadur ac mae canlyniadau hyn yn annisgwyl. Glover (p.31-32) 2010, Animation and sound, duration 8mins

In Some made it, some didn’t the clay pieces are given a visual sense of order by the sequential way in which they are composed on shelves. This not only imposes a random narrative on this anarchic way of working but also highlights the poetry, movement and rhythm in the work. Rwy’n gweithio mewn ffordd ‘ymarferol’, cyflym a sythweledol gyda’r holl ddefnyddiau a ddefnyddiaf. Fy nod yw cipio naws amrwd y gweithgaredd o wneud rhywbeth. Mae’r holl waith e.e. yr olion bysedd, wedi’u gadael yn weladwy. Does dim wedi’i sychu i ffwrdd na’i gaboli. Yn Some made it, some didn’t rhoddir naws gweledol o drefn i’r darnau clai oherwydd y ffordd ddilyniannol y maent wedi’u cysodi ar silffoedd. Mae hyn nid yn unig yn gorfodi naratif ar hap ar y ffordd anarchaidd yma o weithio ond mae hefyd yn tynnu sylw at yr awen, y symudiad a’r rhythm yn y gwaith. Some made it, some didn’t (p.21-22) 2006, Clay and glaze on MDF shelf, dimensions variable

‘Glover’ travels to the edge of the world after a mysterious map arrives to transform his monochromatic existence. In ‘Gloveland’, he encounters a carnival of strange creatures, part glove, part beast, part human. Forced to fight and kill a ferocious glovebeast, ‘Glover’ eventually returns to his workshop and makes gloves from the creatures skin with unexpected consequences.

Ruth Martindale

Duncan McKellar

Ruth Martindale’s work explores our relationship to the natural world and particularly our relationship with plants. Using plant materials, Ruth makes objects and explores traditional crafts and manufacture techniques, as well as the history of our use of these plants. She uses drawing and animation to document this making process, often using imagery that suggests a storybook or fairytale.

This piece documents a train journey from London to Beijing. The section records two days spent in Moscow. The artwork was produced using fifty scrolls of paper each measuring ten meters long.

Mae gwaith Ruth Martindale yn archwilio ein perthynas gyda’r byd naturiol ac yn arbennig ein perthynas gyda phlanhigion. Gan ddefnyddio defnyddiau planhigion, mae Ruth yn gwneud gwrthrychau ac yn archwilio crefftau traddodiadol a thechnegau gweithgynhyrchu, yn ogystal â hanes y defnydd a wnawn o’r planhigion hyn. Mae hi’n defnyddio tynnu llun ac animeiddiad i ddogfennu’r broses hon o wneud pethau, gan ddefnyddio delweddau sy’n awgrymu llyfr straeon neu stori dylwyth teg yn aml iawn. Papermaking Hampstead Heath (p.27-28) 2010, Flickbook and DVD, dimensions: flickbook 12 x 7cm

A portable Pantoscope (a pre-cinema entertainment device) was constructed specifically to hold the scrolls and enable a continuous drawing to be made. After the journey was complete each scroll was recorded rolling beneath a digital video camera. This simple form of animation records the journey as an act of total immersion. Mae’r darn yma’n dogfennu taith drên o Lundain i Beijing. Mae’r adran yn cofnodi dau ddiwrnod a dreuliwyd yn Moscow. Cynhyrchwyd y gwaith celf gan ddefnyddio hanner can sgrôl o bapur, a phob un yn mesur deng metr. Adeiladwyd Pantosgop cludadwy (dyfais ddifyrru cyn cyfnod y sinema) yn arbennig i ddal y sgroliau a chaniatáu creu darlun parhaus. Wedi i bob taith ddod i ben, caiff y sgrôl ei recordio’n rholio o dan gamera fideo digidol. Mae’r math syml yma o animeiddiad yn cofnodi’r daith fel gweithred o ymgolli cyfan gwbl.

48 Hours in Moscow (p.29-30) 2008-09, watercolour and DVD, duration 90mins, dimensions: scrolls 20 x 1000cm, pantoscope 35 x 27 x 8cm

Georgina McNamara

Sophie Michael

My work has always dealt with emotional susceptibilities and our relationship to the world. Lodged awkwardly between photography and performance art, my current series Performances uses staged sequences to recreate actions. The sequential format enables still images to function as animated objects whilst allowing a slower reading of specific moments so that ideas can flow around the images. Directly influenced by Eadweard Muybridge and John Baldessari, this piece playfully explores how the mood of a person can be physically and metaphorically masked.

Sophie Michael uses colour as the structure for her work in an enquiry into the exchange between the cinematic field and its actual location in time and space. Shaft / Ground is a low tech experiment in colouring in a strip of Super8 film through rotation in various directions; the film running through the camera, an umbrella spinning on its axis, its metal shaft reflecting the colours of the fabric, and a pulsing shadow on the ground underneath it.

Mae fy ngwaith i gyd yn ymdrin â thueddiadau emosiynol a’n perthynas gyda’r byd. Wedi’i sodro’n anhylaw rhwng ffotograffiaeth a chelf perfformio, mae fy nghyfres gyfredol Performances yn defnyddio dilyniannau mewn camau i ail greu gweithredoedd. Mae’r fformat dilyniannol yn caniatáu i luniau llonydd weithredu fel gwrthrychau wedi’u hanimeiddio gan adael i’r gwyliwr ddarllen enydau penodol yn arafach fel bod syniadau’n gallu llifo o amgylch y lluniau. Mae’r darn hwn, sydd wedi’i ddylanwadu’n uniongyrchol gan Eadweard Muybridge a John Baldessari, yn archwilio’n chwareus y ffordd mae tymer rhywun yn gallu cael ei guddio’n gorfforol ac yn drosiannol.

Mae Sophie Michael yn defnyddio lliw fel y strwythur ar gyfer ei gwaith mewn ymholiad i’r cyfnewidiad rhwng y maes sinematig a’i leoliad gwirioneddol mewn amser a gofod. Mae Shaft / Ground yn arbrawf technoleg isel mewn lliwio ar stribed o ffilm Super8 drwy ei gylchdroi mewn amrywiol gyfeiriadau; y ffilm yn rhedeg drwy’r camera, ymbarél yn troelli ar ei echel, ei goes metel yn adlewyrchu lliwiau’r ffabrig, a chysgod yn pylsio ar y ddaear oddi tano. Shaft / Ground (p.41-42) 2009, Super8 film transferred to DVD (silent), duration 3mins 21secs

Untitled (After Baldessari) (p.59-60) 2010, C-type photographic print, dimensions 121 x 31cm

Sibyl Montague

Helena Öhman McCardle

Montague's animations are made of extensive series of drawings, where economic strokes of ink or pencil marks sketch out human figures in various sites and situations. While the depicted scenarios are often debauched - sex acts, rave parties etc - the monotone simplicity of the images renders them anonymous, with only a vague link to a contemporary context. These image-archetypes therefore insist on a universal reading, and leave the faint thread of narrative to be interpreted as mankind's journey. (Text by Holly Pester)

My work deals with questions about our perception and experience of reality and the power of memory. I re-stage or invent acts that represent a recognisable reality, often infused with a certain surreal quality to emphasise an absurdity of everyday life or something uncanny within the familiar. Animation is used in some of my work through re-construction, repetition and manipulation. Candles is an example of how fragments of footage have been animated through repetition into a flow of movement.

Mae animeiddiad Montague wedi’i hadeiladu o gyfres eang o ddarluniau, lle mae llinellau cynnil o inc neu farciau pensel yn braslunio ffigurau dynol mewn amrywiol safleoedd a sefyllfaoedd. Er bod y senarios a ddarlunnir yn llygredig yn aml iawn - gweithredoedd rhywiol, partïon ref ac ati - mae symlrwydd unlliw’r darluniau’n eu gwneud yn ddienw, gyda dim ond cyswllt gwan â chyd-destun cyfoes. Mae’r archdeipiau delweddol yma felly’n mynnu darlleniad cyffredinol, ac yn gadael yr ôl lleiaf o naratif sydd i gael ei ddehongli fel y daith ddynol. (Testun gan Holly Pester)

Mae fy ngwaith yn mynd i’r afael â chwestiynau am ein canfyddiad a’n profiad o realiti a grym y cof. Rwy’n ail lwyfannu neu’n creu gweithredoedd sy’n cynrychioli realiti y gallwch eu hadnabod - wedi’u cymysgu’n aml iawn gyda rhyw ansawdd ^ swreal arbennig i bwysleisio mor abswrd yw bywyd pob dydd neu rywbeth rhyfedd o fewn y cyfarwydd. Caiff yr animeiddiad ei ddefnyddio yn rhywfaint o’m gwaith drwy adluniad, ailadrodd a thrin a thrafod. Mae Candles yn esiampl o’r ffordd mae darnau o ffilm wedi’u hanimeiddio drwy ailadroddiad i greu llif o symudiadau.

Totem (p.36) 2009, Animation (silent), duration 2mins 32secs Problem & Thief 2008, Animation (silent), duration 4mins 45secs Last Island (p.35) 2009, Flour and animation (silent), duration 30secs (loop), dimensions variable

Candles (p.61) 2009, DVD and sound, duration: 7mins 21secs Music by Glasgow musician David Donaldson (Soma Records/Mirror Music).

Sam Rees

William Rounce

I draw sequences: permutations of drawings derived from previous permutations of drawings and found imagery. This process is a kind of investigation, a search for new forms to marry and reproduce. I distil the results of these searches, collating those with similar attributes into larger drawings, publications and animations. I am influenced by comics, cartoonists and outsiders which are often reflected in my work through humour or absurdity.

Working within a set of procedures, governed by the laws of perspective: I take a systematic approach to drawing, meticulously building up geometric forms with traces of measured mark making. Through this process, the drawing’s construction begins to take precedent over the ‘representation’ elements of the work. Lines are used as markers of space, volume, measurement, renewal and ultimately erasure. This animation is an attempt to physically record these decisions that make up the construction of a drawing.

Such a Strange Face (p.18) 2010, Video and sound, duration 2mins 20secs

Trwy weithio gyda chyfres o weithdrefnau, wedi’u rheoli gan gyfreithiau persbectif: rwy’n dilyn dull systematig o dynnu llun, gan adeiladu ffurfiau geometrig yn ofalus gydag olion o wneud marciau mesuredig. Trwy’r broses yma, mae adeiladwaith y darlun yn dechrau goruchafu ar yr elfennau ‘cynrychioliad’ yn y gwaith. Defnyddir llinellau fel marcwyr gofod, cyfaint, mesuriad, adnewyddiad ac, yn y pen draw, ddilead. Mae’r animeiddiad yma’n gais i gofnodi’n gorfforol y penderfyniadau yma sy’n creu adeiladwaith darlun. One Thing After Another 2 (p.40) 2009, Animation (silent), duration 37secs (loop)

Rwy’n darlunio dilyniannau: fersiynau o ddarluniau sy’n deillio o fersiynau blaenorol o ddarluniau a lluniau a ganfûm. Mae’r broses hon yn fath o ymchwiliad, yn chwiliad am fathau newydd i’w priodi a’u hailgynhyrchu. Rwy’n distyllu canlyniadau’r chwiliadau yma, gan goladu’r rheiny gyda nodweddion tebyg i greu darluniau, cyhoeddiadau ac animeiddiadau mwy. Caf fy nylanwadu gan gomics, artistiaid cartwnau a phobl o’r tu allan sy’n cael eu hadlewyrchu yn fy ngwaith yn aml iawn drwy ddigrifwch neu drwy’r abswrd.

James Snazell

Mary Somerville

Scape focuses on mechanical or electronic rhythm or motion using images of light sources that take on idiosyncratic, human subjectivity, leading to hypnogogic states through the use of repetition.

Sculptural sets of various locations from backwater alleyways to the contemporary art gallery, provide the location for creatures to interact with familiar objects under theatrical lighting: creating a silent and atmospheric visual poetry using stop motion animation techniques.

The digital short looks at the way in which the imagination helps to re-map our identity and relationship to our surroundings. The footage is based on still camera images of the London Underground and Berlin U-Bahn and the sound is developed from field recordings of Berlin Hauptbanhof. Mae Scape yn canolbwyntio ar rythm neu symudiad mecanyddol neu electronig gan ddefnyddio lluniau o ffynonellau golau sy’n dangos goddrychedd dynol, hynod, gan arwain at gyflyrau hypnogogaidd trwy ddefnyddio ailadrodd. Mae’r darn byr digidol yn edrych ar y ffordd y mae’r dychymyg yn helpu i ailfapio ein hunaniaeth a’n perthynas â’n hamgylchiadau. Mae’r darn ffilm wedi’i seilio ar luniau camera llonydd o Reilffordd Tanddaearol Llundain ac U-Bahn Berlin ac mae’r sain wedi’i ddatblygu o recordiadau maes o Hauptbanhof Berlin. Scape (p.07-08) 2009, DVD and sound, duration 7mins

The films - which are played continuously without distinct beginning, middle or end - display a magical realism that engages myth-inspired characters with contemporary actions, questioning indecision, empathy and solitude whilst exploring notions of an ongoing journey. Mae cyfresi cerfluniol o amrywiol leoliadau o aleau cefn i’r oriel gelf gyfoes yn darparu’r lle i greaduriaid ryngweithio â gwrthrychau cyfarwydd dan oleuadau’r theatr gan greu barddoniaeth weledigol fud sy’n llawn awyrgylch gan ddefnyddio technegau animeiddiad symud stop. Mae’r ffilmiau – a chwaraeir yn gyson heb ddechreuad, canol na diwedd amlwg – yn dangos realaeth hudol sy’n cysylltu cymeriadau a ysgogwyd gan fythau gyda gweithredoedd cyfoes, gan gwestiynu’r anallu i benderfynu, empathi ac unigedd gan hefyd archwilio’r syniad o daith barhaus.

Continuous Journey One (p.51-52) 2010, Animation (silent), duration 8mins

Sally Stevens

Chris Stockbridge

Animation about the (not necessarily factual) workings of the human body. Made by animating on real life bodies, and utilising a number of techniques including pixilation and stop motion. Filmed on 35mm stills film and then scanning the negatives on to computer. (Funded by Arts Council England)

The work questions received notions of family relationships. It is made of a slowly dissolving, looped animation of still images. The repetition reflects the claustrophobia and frustration of family life. The role of the artist, as wife and mother, trying to keep control is made explicit in the accompanying wall text. It inhabits the border between the photographic and the cinematic; time is at its heart. Its ambiguity hopes to disrupt expectations of the familiar and familial.

The Human Body (p.25-26) 2009, Animation and collage, duration 6mins 55secs

Mae’r gwaith yn cwestiynu syniadau a dderbyniwn am berthnasau mewn teulu. Mae wedi’i greu o animeiddiad wedi’i ddolennu o ddelweddau llonydd sy’n ymdoddi’n araf. Mae’r ailadrodd yn adlewyrchu clawstroffobia a rhwystredigaeth bywyd y teulu. Mae rôl yr artist, fel gwraig a mam sy’n ceisio cadw rheolaeth, wedi’i ddangos yn amlwg yn y testun wal sydd i’w weld hefyd. Mae i’w weld yn y border rhwng y ffotograffig a’r sinematig; amser sy’n graidd iddo. Mae ei amwysedd yn gobeithio amharu ar y disgwyliadau am y cyfarwydd a’r teuluol. Relative Space, Father / Son (p.55-56) 2009, Photo animation, duration 10mins 10secs

Animeiddiad am brosesau’r corff dynol (nid yn ffeithiol o anghenraid). Cafodd ei greu drwy animeiddio cyrff go iawn, a defnyddio nifer o dechnegau gan gynnwys picseliad a symudiad stop. Cafodd ei ffilmio ar ddarnau llonydd o ffilm 35mm ac yna cafodd y negatifau eu sganio ar gyfrifiadur. (Wedi’i ariannu gan Gyngor Celfyddydau Lloegr)

Tim Stokes

Jacki Storey

This work is a handmade animation translated from original home video footage. Video fragments were broken down into individual frames and translated through drawings on paper. These drawings were collated, scanned and resurrected into a new form: evidencing loss in their reinterpretation and offering a sense of ambiguity. The familiar has been destroyed and reconstructed through a personal narrative. The original videos were indicators of memory - holding onto a moment - whilst the animations prove the inability of ever truly being able to do so.

Unbecoming is the unmediated recording of a live Camera Obscura projective installation. Dislocated familiar and intimate objects are re-animated in real time using synchronicity, juxtaposition, transparency and transition, and the manipulation of light. By perceptually transforming the normal appearance and behaviour of objects, the realm of the Uncanny is explored. Unbecoming oscillates between nostalgia and enchantment, and darker, more nightmarish associations, trapped in a relentless and unresolved merrygo-round world, where the ‘becoming’ merges unsettlingly into the ‘unbecoming’.

Mae’r gwaith yma’n animeiddiad a wnaed gyda’r llaw ac a drosglwyddwyd o ffilm fideo cartref gwreiddiol. Torrwyd darnau fideo’n fframiau unigol a’u dehongli drwy luniau ar bapur. Cafodd y lluniau yma eu casglu, eu sganio a’u hatgyfodi mewn ffurf newydd: yn dystiolaeth o golled yn ei hailddehongliad ac yn cynnig teimlad o amwysedd. Cafodd y cyfarwydd ei ddinistrio a’i adlunio drwy naratif personol. Roedd y fideos gwreiddiol yn arwyddion o’r cof – yn dal yr ennyd - tra bo’r darnau animeiddiad yn profi na ellir byth wneud hynny go iawn. TJ (p.33-34) 2009, Animation (silent), duration 1min (loop)

Mae Unbecoming yn recordiad digyfryngol o osodiad tafluniol Camera Obscura byw. Mae gwrthrychau cyfarwydd a phersonol wedi’u dadleoli’n cael eu hanimeiddio o’r newydd mewn amser real gan ddefnyddio cydamseriad, cyfosodiad, eglurder a thrawsnewidiad, ynghyd â thrafod a thrin golau. Trwy drawsnewid ymddangosiad ac ymddygiad arferol gwrthrychau’n ganfyddiadol, gellir archwilio byd y Rhyfedd. Mae Unbecoming yn siglo rhwng hiraeth a swyn, a chysylltiadau mwy tywyll a hunllefus, wedi’u caethiwo mewn byd sy’n cylchdroi’n ddi-baid a di-dor, lle mae’r ‘gweddus’ yn cyfuno’n anghyfforddus â’r ‘anweddus’.

Unbecoming (p.45-46) 2010, DVD (silent), duration 3mins

David Theobald

Annabel Tilley

My recent work has consisted of loops constructed digitally from photographs. Working with computer animation inevitably raises questions about mediation in modern society and the endless pursuit of CGI towards ever more spectacular optical effects: the spectator held in thrall of the screen. In contrast, my use of a restricted viewpoint and flat narrative seem more likely to generate feelings of frustration, and perhaps humour, giving way to a deeper contemplation of the illusion of ‘progress’, in which we live.

Annabel Tilley’s drawings derive from national newspaper stories of murder and abduction. Inspired by a press image of 40 Ybbs Strasse, Amstetten, where Josef Fritzl imprisoned his daughter Elisabeth for 24 years, the crime is so horrendous, so inconceivable, one’s attention is drawn to the mundane – the second tallest tree in Josef Fritzl’s garden. These multiple drawings animate the idea that this tree, seen by the thousands of people who will have walked past the house everyday for 24 years, was unseen by Elisabeth for the 8000 days of her captivity, despite its proximity.

The Winnersh Triangle (p.17) 2009, DVD and sound, duration 7mins 35secs

Mae darluniau Annabel Tilley’n deillio o straeon papurau newydd cenedlaethol o lofruddiaeth a chipio. Cafodd ei ysgogi gan lun yn y wasg o 40 Ybbs Strasse, Amstetten, lle’r oedd Josef Fritzl wedi carcharu ei ferch Elisabeth am 24 mlynedd. Mae’r drosedd mor ofnadwy, mor annirnadwy, mae eich sylw’n cael ei dynnu at y bydol – y goeden dalaf ond un yng ngardd Josef Fritzl. Mae’r darluniau niferus yma’n animeiddio’r syniad am y goeden hon, a welwyd gan y miloedd o bobl a fydd wedi cerdded heibio’r t^y bob dydd am 24 mlynedd, ac nad oedd Elisabeth wedi ei gweld am yr 8000 o ddyddiau pan oedd dan glo, er ei bod mor agos ati. The second tallest tree in Josef Fritzl’s garden (p.54) 2009, Ink on paper, dimensions: 87 x 67cm

Mae fy ngwaith diweddar wedi cynnwys dolenni a grëwyd yn ddigidol o ffotograffau. Mae gweithio gydag animeiddiad cyfrifiadurol yn codi cwestiynau anochel am gyfryngdod yn y gymdeithas fodern a’r ymgais ddiddiwedd am CGI er mwyn creu effeithiau optegol hyd yn oed yn fwy ysblennydd, y gwyliwr wedi’i ddal yng nghyfaredd y sgrin. I’r gwrthwyneb, mae’n ymddangos bod fy nefnydd o safbwynt cyfyngedig a naratif fflat yn fwy tebygol o gynhyrchu teimladau o rwystredigaeth, ac efallai ddigrifwch, sy’n creu myfyrdod mwy dwfn o’r ddelwedd o ‘gynnydd’ yr ydym yn byw ynddi.

Sean Vicary

Neil Wissink

My work is primarily concerned with ideas of ‘landscape’ (internal and external) and our increasingly politicised interaction with the ‘natural’ world. I use found objects and fragments of detritus to explore this relationship, manipulating these elements in a virtual space to create animated assemblages. These act as triggers for the viewer, sometimes suggestive of a wider narrative or of the hidden processes at play behind the visible. RETOLLED is a response to a huge greenfield supermarket development in Cardigan.

Cipher is a short artist’s film that registers the interior of Wilton’s Music Hall, East London, in a series of high-definition tracking shots – leading you through the fragile, historic building before revealing an impossible snowfall. The snow was created digitally as a CGI animation, confounding the presumed indexicality of the recording medium, while offering a parallel to the early days of film practice and the historical period of transition from stage illusions, as popularised in venues like Wilton’s, to ‘magic’ films such as those of Georges Méliès.

Mae fy ngwaith yn ymwneud gan fwyaf â’r syniadau o ‘dirlun’ (mewnol ac allanol) a’n rhyngweithio cynyddol wleidyddol gyda’r byd ‘naturiol’. Rwy’n defnyddio gwrthrychau a darnau o ddetritws yr wyf wedi’u canfod i archwilio’r berthynas hon, gan drin a thrafod yr elfennau hyn mewn gofod rhithwir i greu cyfosodiadau wedi’u hanimeiddio. Mae’r rhain yn sbardunau i’r gwyliwr, gan awgrymu naratif ehangach weithiau neu brosesau cudd sy’n gweithredu tu ôl i’r gweladwy. Mae RE-TOLLED yn ymateb i ddatblygiad archfarchnad maes gwyrdd enfawr yng Ngheredigion.

RE-TOLLED (p.37-38) 2010, DVD and sound, duration 2mins 33secs

Mae Cipher yn ffilm fer gan artist sy’n cofrestru’r tu mewn i Neuadd Gerdd Wilton, Dwyrain Llundain, mewn cyfres o luniau olrhain croyw – sy’n eich arwain drwy’r adeilad hanesyddol, bregus cyn datgelu lluwch eira amhosibl. Cafodd yr eira ei greu’n ddigidol fel animeiddiad CGI, gan ddrysu’r broses fynegai ar y cyfrwng cofnodi, a chan hefyd gynnig paralel i ddyddiau cynnar gwaith gyda ffilmiau a’r cyfnod hanesyddol o’r trawsnewidiad o ledrith ar y llwyfan, fel hwnnw a ddaeth yn boblogaidd mewn lleoliadau megis Wilton’s, i ffilmiau ‘hud’ megis y rheiny gan Georges Méliès’. Cipher (p.43-44) 2009-10, Video and sound, duration 5mins

Simon Woolham My drawn biro animation The Wood Engine combines a minor action in repetitive motion and sound, drawing attention to the miniscule details. I see the unpredictable and fragile process of memory related to the drawing as trying to communicate through the process of it becoming animated. Mae fy animeiddiad a dynnwyd gyda beiro, The Wood Engine, yn cyfuno gweithred fechan mewn sain a symudiad ailadroddus, gan dynnu sylw at y manylion bychan iawn. Rwy’n gweld y broses fregus ac anrhagweladwy o gof sy’n berthnasol i’r darlun fel rhywbeth sy’n ceisio cyfathrebu drwy’r broses o ddod yn waith wedi’i animeiddio.

The Wood Engine (p.39) 2010, Biro drawings and sound on DV, duration 1min 42 secs

This catalogue is published on the occasion of the exhibition, RE:animate at Oriel Davies Gallery, 26 June – 18 August 2010.

RE:animate oriel davies open 2010

www.orieldavies.org Oriel Davies Gallery, The Park, Newtown, Powys SY16 2NZ GALLERY CAFE SHOP Monday - Saturday 10 - 5

T: + 44 (0) 1686 625041 E: desk@orieldavies.org Reg. Charity No.1034890 ISBN 978 1 870797 60 3

Publication © Oriel Davies Gallery 2010. Text and images © the artists. All works are reproduced courtesy of the artists. Exhibition organised by Alex Boyd. Catalogue edited by Alex Boyd and designed by Matthew Richardson (E:matthew@hoofandclaw.co.uk) Cyhoeddiad © Oriel Davies Gallery 2010. Testun a delweddau © yr artistiaid. Atgynhyrchir yr holl waith drwy gwrteisi’r artistiaid. Trefnwyd yr arddangosfa gan Alex Boyd. Golygwyd y catalog gan Alex Boyd ac fe’i ddyluniwyd gan Matthew Richardson (E:matthew@hoofandclaw.co.uk)

Oriel Davies warmly thanks the generosity of the following for their support of RE:animate: our Principal Sponsor, Whittingham Ridell Chartered Accountants, also: Arts & Business Cymru, Imprint, Newtown Station Travel, the Arts Council of Wales and the Esmée Fairbairn Foundation. Oriel Davies also thanks the Selectors and Judges of RE:animate: Ceri Hand (Director, Ceri Hand Gallery, Liverpool), Peter McLuskie (Flip Animation Festival Organiser, Light House, Wolverhampton), Lorna Thomas and Allegra Mansini-Barker (Oriel Davies Young Curators) and Alex Boyd (Curator, Oriel Davies Gallery). We would also like to extend thanks to Melissa Hinkin for her crucial role in supporting the application process. Mae’r catalog hwn wedi cael ei gyhoeddi i gyd-fynd â’r arddangosfa, RE:animate yn Oriel Davies Gallery, 26 Mehefin – 18 Awst 2010. Hoffai Oriel Davies ddiolch i’r canlynol am eu caredigrwydd ac am gefnogi RE:animate: ein Prif Noddwyr, Whittingham Ridell, Arts & Business Cymru, Imprint, Newtown Station Travel, Cyngor Celfyddydau Cymru a Sefydliad Esmée Fairbairn. Hoffai Oriel Davies ddiolch hefyd i Ddetholwyr a Beirniaid RE:animate: Ceri Hand (Cyfarwyddwr, Ceri Hand Gallery, Lerpwl), Peter McLuskie (Trefnydd Flip Animation Festival, Light House, Wolverhampton), Lorna Thomas ac Allegra MansiniBarker (Curaduron Ifanc Oriel Davies) ac Alex Boyd (Curadur, Oriel Davies Gallery). Hoffem ddiolch hefyd i Melissa Hinkin am ei rôl hanfodol o ran cefnogi’r broses ymgeisio.

Newtown Station Travel All or part of this publication may not be reproduced, stored in retrieval systems or transmitted in any form or by any means, whether electronic or mechanical, including photocopying, recording or otherwise, without the prior permission in writing of the publisher. Ni all unrhyw ran o’r cyhoeddiad hwn gael ei atgynhyrchu, ei storio mewn system caffael na’i drosglwyddo drwy unrhyw ddull, p’un ai’n drydanol neu’n fecanyddol neu fel arall, sy’n cynnwys llungopïo a recordio, heb gael caniatâd yn gyntaf gan berchnogion yr hawlfraint a’r cyhoeddwyr. Front cover image: Delwedd ar y clawr blaen: Richard Bowers The Velvet Lantern 2010, video and software (silent) (detail)

RE:animate