Stop-Start Animations With Objects

These two clips and the clip of me in the mirror are actually a part of an 8minute long film which cannot be uploaded to youtube because it has copyrighted music on it (and the film doesnt work at all w/out the soundtrack)... oh well!

The first


And the second:

In The Mirror In The Morning

an extract from the film that the rotation animation above were taken from.

One Way To Look At Capri

This is the short film I made as a response to a week and a half visit to the island of Capri in the bay of naples. I felt that its strength as a circumscribed unit was immense. The conveyance of its many particularly singular historic moments, geographical delights, architectural relics and present comfortable, but ever allusive atmosphere was constant and thorough; whether through the numerous architectural details or the incessant spiel of the locals, Capri expressed itself constantly and clearly as a discernable atmosphere, historical ecology, and object...

This had all culminated in a two day search (and then a day filming, of which footage I only used about 10seconds!) for the place from where all the hotels and holiday homes bought their fake godesses, Marys, Tiberiuses, doric and ionic columns. It was a large, intriguing place on the road from Anacapri to the lighthouse on the eastern end of the island, and just packed full of all the items which the island itself, by 2007, was totally packed full of -and builders were busily loading more and more of the stuff on the backs of their little specially altered piaggio-cum-trucks, to take away and fill the tiny island even more.

This film was incorporated into Objectification later on.

a diagram:

Objectification: A Parable of Posession

This is the tale of a man, his life's only journey, his only passionate love, and the solitude at its end...

The Film in Two Parts:



A Summary/Explanation:


Some images of the work on show at the moment in the Corridor Gallery, Hackney Road (you can see the film at the top of the stairs on the tv). I would like to say a big thank you to Amita, Vicky, Emma and Christoph for inviting me to show there:









A diagram of the general plot structure:


and a note on the title:



The sculptures (as with most work on the blog) are available in a limited series. Please contact me if you are interested in purchasing one.

Two Men and their Monuments

These are two short stories taken from a film about different ways to map and experience a city, the film is half french and half english, and I seem to have lost the version with the subtitles so Im just going to post the two in English which are about two men who are in different ways infatuated with different monuments in their city. Monuments of the kind that are hosts to daily visits by hundreds of busloads of tourists going on those mad whistlestop tours of Europe.

One Way To Look At An Empty Shop (Film)

youtube description:
"Taking the moment in a scene in Godard's LeMepris when the camera pans around a statue of Zeus as a starting point, I imagined the director, prior to the film's conception, walking into a bric-a-brac shop with nobody in it and full of old statues and furniture, and beginning to form his ideas of the overall plot and characters in the film through the items scattered around him."

HandBin description:
This was the second film that I made, and its quite dear to me as it was around the making of it that I began to be fascinated by the presence of highly constructed artifacts, by the ability of objects, films, paintings, and buildings to acquire a life of their own more than, but relying on, and complementary to, their materiality. A life that is affirmed and vivified by the attention and contemplation of observers, but which cannot exist without, and relies entirely upon an efficacy which stems from the level of completeness bestowed upon the item by its creator, a form of conclusiveness which encloses the object in on itself as a contained unity of meaning that is entirely independent of its origin, of the artist. Like the unexplainable moment of liquefaction that is unique to every material, I imagine that there is a point for each artist, for each object that he makes when it reaches independence and sets sail on its own as something more than his or her creation, and something more than the material it is made up of, something that is so strongly of-itself that all future gazes, all future thoughts stemming from apprehending its forms, will, although necessarily each developing thoughts stemming from the observer's own experiences and mind, nonetheless catch a glimmer of the light which the object will give off like the radiation released over the course of its aesthetic half-life. The film imagines Jean-Luc Godard reaching the moment when the characters, plot, colours, scenes, and atmospheres of his film Le Mepris coalesce in his mind to start forming the image of the kind of completeness described above. This happens in a bric-a-brac shop full of pitiful and mundane objects, but things that nonetheless together act as a static reflection of what is forming in his mind, and aids and accompanies the events of intuition taking their own course in his head…

oh, and I starting looking at duration in regards to observing the object, so coming at it from both ends, the initila creative act and the later apprehension of the object in time by an observer... you can have a look at what I wrote on the second page with drawings and text below the movie.




and a couple of explanatory pages:

Chapters, Shapes and Synapses

Images from two projects, the first (Mr A) involved the mapping out of the daily routine of a rather defeated man, and then inverting it throught the construction of a dream world space in which the architecture serves to take him on a roller coaster ride that unravels the absurd hermeticism of his environment. The next project (the Bs) follows the relationship of a newly married couple and their relationship with their new house, and architect over twenty years. They re-build their terrace house bit by bit, as money becomes available over the years, and develop certain excentricities in their habits which partially come from the eccentricities in their architecture, and partially feed into the next architectural phase making it even odder, and so on until they end up with a house so idiosyncratic it is impossible to sell.

Two Drawings

The first drawing was a catalyst/excuse for a rather long investigation into centralised spaces based on primary geometries and hierarchical subdivisions both vertical and lateral; I mde models and learnt how to project for domical forms, sections of cones etc, and ended up with this large decoratie drawing which I have always wanted to turn into a dining table.... any takers!? :0)

The next one was just a preamble to the drawings for "MyHotel" below in another post...