This short animated film is titled ” From Green To Brown To Black To Brown To Green”
Blue Screen Testing @ temporary studio.
I’m working in a secret place at NM. Comfortable working studio with an air-conditioner :)
Kai qun and I are preparing the props and blue screens here. We work from day to night almost everyday. Can’t wait to start animating the characters and see them come alive.
This work talk about environmental issues (Deforestation and global warming/Climate change due to the loss of trees) and the storyline of the animation is about the battle between trees (nature) and machines (man). I will be showing collages of video in 2 LCD screens and projected on the wall. The videos in LCD screens will be installed and sized to the construction site built by Kai qun. I believe this is our true collaboration and we put alot of effort in it. Approaching in many different ways and methods which I looking forward to seeing the final result.
Song by BAND OF HORSES
“Monsters”
A tree for all these problems
They can find you for the moment
Then for all past efforts
There buried deep beneath
Your heart and somewhere in your stomach
And hey, transform all others When aweful people they surround you
Well hey, they just like monsters
They come to feed on me
Giant little animals to feed
Though to say we got much hope
If i am lost it’s only for a little while
A tree for all these problems
They can find us for the moment
Then for all past efforts
There buried deep beneath
Our hearts and somewhere in our stomachs
And hey, transform all others
When aweful people they surround you
Well hey, they just like monsters
They come to feed on us
Giant little animals for us
Though to say we got much hope
If i am lost it’s only for a little while
Though to say we got much hope
If i am lost it’s only for a little while
If i am lost it’s only for a little while
If i am lost it’s only for a little while
*Nice song and lyrics-was much inspired by the song when creating some characters for my animation*
I use to imagine and draw many monsters when i was young and somehow, they became my imaginary friends. When I get older, I start to create characters/monsters that mimic behaviors of people around me. Some imaginary-based on my experience, some real. Each character has a particular personality, role and responsibility in this world that I create. I wanted to give life to my imaginary monsters and conjures up to a darkly craziness in them. As part of a drawing, sculpture installation or animation, these creatures went about in their own ways in scenes constructed that are reminiscent of our own daily activities.
The Fukuoka Asian Art Triennale (the Fukuoka Triennale) is a large-scale international exhibition held under a different theme every three years to feature the most up-to-date art tendencies/practices in 21 countries/ region in Asia, making the best use of resources accumulated through the continuous research and art exchange programme in the Fukuoka Asian Art Museum. In this exhibition, we present paintings, sculptures, installation and video works, workshops, performance and collaborative art-making by inviting artists from across Asia to Fukuoka. We aim to create a space of art exchange involving the people in Fukuoka.
Commemorating the inauguration of the Fukuoka Asian Art Museum, the 1st Fukuoka Asian Art Triennale 1999, under the theme of “Communication: Channels for Hope” focused on the possibility of connecting people of different cultures and communities through art. The 2nd Fukuoka Triennale 2002 highlighted handmade works which employ indigenous local material under the theme “Imagined Workshop”. The 3rd Fukuoka Triennale 2005 featured artworks of young generation influenced by popular culture under the theme “Parallel Realities Asian Art Now”. By dynamically presenting cutting-edge ideas and works from Asia, these triennales were all well received both within and outside Japan.
In the 4th Fukuoka Triennale, we carefully select the most promising artists in Asia as in past triennales. At the same time, commemorating the 10th anniversary of the Fukuoka Asian Art Museum, we will also look back on the development of Asian art in the past decade by featuring artists who have actively participated in the international art scenes. Furthermore, taking advantage of the urban space where the museum is located, artworks will be displayed outside extending beyond the museum to intervene other public spaces (shopping malls, park etc). We also aim to create a wider and diversified space of exchange by jointly organizing events with the city government, and collaborating plan with local organizations, universities and NPOs.
Title of Exhibition:
The 4th Fukuoka Asian Art Triennale 2009
LIVE and LET LIVE: Creators of Tomorrow
Period: Saturday, 5 September to Monday, 23 November 2009
I will be showing two works at the exhibition. My previous animated film “Come Out And Play!” and a new work to be made over there for their exchange programme which I will be collaborating with other artist Chun Kai Qun. Probably, I will be leaving Singapore to Fukuoka at the early August.
Preparing right now.. bringing some of my props and artworks over.
Looking forward to the exhibition and meeting some of the great artist. Must be extremely EXCITING!
Established in 1977, The Drawing Center’s Viewing Program offers emerging artists the opportunity to include their work in a curated Artist Registry that is consulted by a wide variety of arts professionals from across the globe: curators, gallerists, collectors, and educators, among others. Artists accepted into the Viewing Program are also invited to meet one-on-one with the Viewing Program Curator to review and discuss a recent selection of their work. This informal conversation provides artists with a valuable opportunity to engage in a critical discussion of their practice.
Approximately twice a year The Drawing Center presents “Selections,” group exhibitions of artists curated from the Viewing Program, to give exposure to emerging artists.
I perceive drawing to be about renewing continuously and reinventing traditional means. I always try to renew and make sure I see more possibilities in the works I do, for example, a charcoal drawing is further developed into an animation. I am keen in traditional animation and techniques which combine solid drawing.I have always preferred to do things in the simplest of ways possible, my animations are made using simple drawing materials, existing objects I created/found, a still camera and a tripod. I worked intuitively and spontaneously, allowing the story to unfold and develop from suggestions taken from marks, lines and accidents in my drawings. Subsequent frames for the story are created through a repetitive process of drawing, erasing and re-drawing. The sequence of drawing, erasure and re-drawing determines how the narrative develops. Animation enabled me to further develop an ability to convey stories and ideas through moving images. I am also interested in DIY ethics where people are involved in a process of putting things or objects together for their own use. A lot of my work comes from an interest in how things are made, how things are done and the way materials are manipulated and used.
The works consist of a large wall projection, of a stop-motion animation made in situ at 8Q, by drawing painstakingly on the walls of the staircase, on the glass walls and windows of the museum, as well as invented unique silkscreen prints on water.
I created a storyboard through a sequence of drawing, erasing and re-drawing, capturing the images frame by frame with only a still-life camera and tripod. The storyline in my animation is sometimes absurd because I try not to dictate a plot from the beginning and prefer to allow the materials and the environment that I come across to lend a hand in its progress.
The movements of the characters are decided by the nature of the environment, so they will fly if there is a high ceiling or be constraint to just walking if I am unable to secure a ladder on uneven ground. It is about one adapting to the environment, rather than shaping it to needs.
The equipment used are minimal, a camera with tripod, a ladder and basic drawing materials such as charcoal, chalk and pastels. The props that I prepare are also simple and they allow flexibility in the choice of location where my animation is created such as public-walkways, staircases and even the washroom.
I try to respond to different environment and approach new areas, for example, the glass windows in 8Q SAM which provided a good flat surface to work with, yet also presented fascinating perspectives and interaction with the surrounding architecture.
In this animation, there is a girl, whom I called Ringmaster, who makes her own toys with wrappers from chocolates. Her ability to make things out of found materials is a response to having limited resources. There are also a couple of chocolate-monsters having a tussle with her and the overall plot is very simple. I believe the meanings of my animation lies within the making and I always intended to make apparent the process of art-making to the audience.
This animation revolves around a girl called Ringmaster, who makes her own toys with chocolate wrappers, and battles chocolate monsters. The adventure takes place along the public walkways, staircases and washroom of 8Qsam.
My previous animations are usually done in a fixed frame set, for example, a piece of drawing paper or a stage. This proposed animation will make use of the entire room or environment as its set. The characters in the animation will interact with things in the room almost like living beings.
still images of video .
Watch Them! ” Come Out And Play! “
Joo Choon Lin makes drawings in the environment: on the wall, around the door and power switches, in the basin water…. Each of these drawings is a ‘frame’ in her animation. Once photographed, the drawing is erased and the artist works on her subsequent frames, always leaving behind traces of the old. Made with drawing, photography and installation, this animation engages imagination and craftsmanship in ways that sideline the over-dependence on hi-tech interfaces in contemporary society.
Combining live stop-motion and frame by frame drawings on real spaces.The characters in this short animation are derived from the surrounding environment of my studio in Melbourne, while on an artist residency programme. These characters then travel back to Singapore, and the animation process continues in Post-Museum
In the studio, Gertrude contemporary art spaces, Melbourne
