Well, I didn't get into the CalArts Experimental Animation program this year. I certainly plan on applying again next year though!
I will upload the rejected portfolio soon. I will be contacting them for feedback as well, which I will share.
Getting ready to ramp back up into "make it happen" mode! Woot!!
Monday, April 9, 2012
Thursday, February 9, 2012
Project Plans (CalArts MFA, EA 2012)
"Project Plans" essay submitted for my application to the MFA Experimental Animation program at CalArts for fall of 2012.
One of the many reasons animation attracts me is the ability the artist has to manipulate the composition detail down to a fraction of a second. The human brain is great at filling in potential gaps in order to recognize patterns and create full pictures. I am interested in pushing the envelope on the imaginative freedom we allow the audience. I think audiences in general need to be given more credit for their ability to figure out the puzzle. I think the most powerful pieces are those that leave space for the viewer to fill in and figure out what the work means for them. Using the viewers mind to my advantage, I want to explore providing definitively minimal and abstract images that leave an impression, but allow for free interpretation and application.
In order to create works that resonate deep within an audience, it is essential to consider every sensory input that is delivered in a composition. Through directing and stage managing I have been able to spend large amounts of time playing with how to coordinate the dance of elements for the most effective and all encompassing impact. I seek to further experiment with the careful creation and marriage of sensory input for maximum intellectual and emotional growth. Sound and sight are the two main inputs inherent in film, but I am very interested in exploring how to involve more of the senses in the experience; bringing in touch, smell, and even taste by crafting the environment in which the art is viewed. I believe this could manifest in both installations and in live performances/viewings.
A project that I have been cooking up for years now is an installation of sorts. I would like to transform a large venue (possibly a warehouse space) so that all sharp corners are eliminated. This would be achieved with a structure completely composed of hexagons that round the room out into an encompassing undulating bubble. I chose the hexagon because of its great cosmic significance. It is found within the structure of just about everything. From the base structure of a DNA cell to large rock formations, clouds on Saturn to a honeybee’s comb, the hexagon determines the structure of the majority of what makes up this place we call home.
The structure would be composed of three main elements: two way mirrors, sharkstooth scrim, and clear glass (possibly plexi). The idea is that in between the actual venue walls and the structure there is an endless animation of swirling cosmos lightly overlaid with other abstract visuals reminiscent of things we see in our everyday lives. The cosmos would be animated from small scale close up shots of liquids, dust, oils and other such materials interacting. A series of lighting environments would be created and when the viewer looks up and around, dependent on how the light is hitting the structure at any given point; they may see cosmos, or they may see themselves reflected, they may see someone across the expanse of the room, or they may see the inside of the structure illuminated with animation. Once one has entered into the room they should be transported. There would be a soundscape and environmental manipulations (temperature, air flow, etc…) that enhance that transport. Periodic blackouts and silences will give the viewer a break from the stimuli, but will also help to enhance their ability to observe and make their own conclusions about the experience. My goal with this is to emphasize the idea that no matter how different our life experiences may have made us-we are all conscious beings searching for some kind of meaning.
For all of my work it is extremely important that each element of the composition facilitates the other. There is music that vibrates throughout the human body, which in turn allows the human spirit to vibrate through music. This is a large reason why I believe in complete underscoring. Even the silences should be considered a part of the auditory composition; creating a soundscape that washes around the brain enhancing the visuals and concepts as they are presented. The use of sound to support the journey is a very effective way to enhance interpretation, comprehension, and feeling.
I have a great desire to interpret the works of classic playwrights in stop motion. We see plenty of fairy tales, but not many plays depicted in animation. I think that there are many of them that would do very well in the medium. It still allows for the dramatic stylization of theater and the use of the abstract, but in a more sustainable format. I believe that the visual interest of stop motion would help to introduce and draw people in that are not familiar with the works of great playwrights. Beckett, Ibsen, Miller and Shakespeare can often be seen as stuffy theater that only applies to the World War II generation. Many people stay away for that reason-they think that it’s boring or outdated. These plays have stuck around for a reason, though – there is something to be found there, something to discover. There are many plays that seem limited by their time simply due to the lack of a fresh approach. The delivery must be contemporized. I do not mean simply changing the time and location that the story is told in. I believe that the key to making a classic play fresh for a new audience lies in the approach. The way audiences experience entertainment has changed dramatically over the past few decades, and so must the way in which it is delivered – the format needs to be altered to bring in a new audience. While I certainly feel that the theater community should continue exploring these works on stage, I do think that there is an entirely new audience that can be brought to the lessons and inquiries that theatre provides by bringing these plays to them in a medium that stimulates the modern mind.
I also plan to continue collaborating with artists of other disciplines to devise new works. I am currently looking to focus in on the subjects of outsiders, confinement, gender, and sexual identity. Anyone can relate to feelings of isolation and confinement. There are many elements to be explored and great potential to ignite reflection. I think a first step in helping those who do not understand the plights of the LGBT community is to try to foster a better understanding of the deep inner hurt the community experiences. I think that to approach the subject with those who do not understand, we have to present the information initially as having nothing to do with gender or sexuality, but instead present ideas and concepts that they can relate to. My goal with these devised works is to encourage a broader spectrum of empathy with humanity.
Through the act of capturing motion and creating a dynamic marriage of sensory input, I seek to explore, question, and feel our universe as well as humanities relationship with it. I create out of necessity; a necessity for expression, understanding, and mental evolution.
One of the many reasons animation attracts me is the ability the artist has to manipulate the composition detail down to a fraction of a second. The human brain is great at filling in potential gaps in order to recognize patterns and create full pictures. I am interested in pushing the envelope on the imaginative freedom we allow the audience. I think audiences in general need to be given more credit for their ability to figure out the puzzle. I think the most powerful pieces are those that leave space for the viewer to fill in and figure out what the work means for them. Using the viewers mind to my advantage, I want to explore providing definitively minimal and abstract images that leave an impression, but allow for free interpretation and application.
In order to create works that resonate deep within an audience, it is essential to consider every sensory input that is delivered in a composition. Through directing and stage managing I have been able to spend large amounts of time playing with how to coordinate the dance of elements for the most effective and all encompassing impact. I seek to further experiment with the careful creation and marriage of sensory input for maximum intellectual and emotional growth. Sound and sight are the two main inputs inherent in film, but I am very interested in exploring how to involve more of the senses in the experience; bringing in touch, smell, and even taste by crafting the environment in which the art is viewed. I believe this could manifest in both installations and in live performances/viewings.
A project that I have been cooking up for years now is an installation of sorts. I would like to transform a large venue (possibly a warehouse space) so that all sharp corners are eliminated. This would be achieved with a structure completely composed of hexagons that round the room out into an encompassing undulating bubble. I chose the hexagon because of its great cosmic significance. It is found within the structure of just about everything. From the base structure of a DNA cell to large rock formations, clouds on Saturn to a honeybee’s comb, the hexagon determines the structure of the majority of what makes up this place we call home.
The structure would be composed of three main elements: two way mirrors, sharkstooth scrim, and clear glass (possibly plexi). The idea is that in between the actual venue walls and the structure there is an endless animation of swirling cosmos lightly overlaid with other abstract visuals reminiscent of things we see in our everyday lives. The cosmos would be animated from small scale close up shots of liquids, dust, oils and other such materials interacting. A series of lighting environments would be created and when the viewer looks up and around, dependent on how the light is hitting the structure at any given point; they may see cosmos, or they may see themselves reflected, they may see someone across the expanse of the room, or they may see the inside of the structure illuminated with animation. Once one has entered into the room they should be transported. There would be a soundscape and environmental manipulations (temperature, air flow, etc…) that enhance that transport. Periodic blackouts and silences will give the viewer a break from the stimuli, but will also help to enhance their ability to observe and make their own conclusions about the experience. My goal with this is to emphasize the idea that no matter how different our life experiences may have made us-we are all conscious beings searching for some kind of meaning.
For all of my work it is extremely important that each element of the composition facilitates the other. There is music that vibrates throughout the human body, which in turn allows the human spirit to vibrate through music. This is a large reason why I believe in complete underscoring. Even the silences should be considered a part of the auditory composition; creating a soundscape that washes around the brain enhancing the visuals and concepts as they are presented. The use of sound to support the journey is a very effective way to enhance interpretation, comprehension, and feeling.
I have a great desire to interpret the works of classic playwrights in stop motion. We see plenty of fairy tales, but not many plays depicted in animation. I think that there are many of them that would do very well in the medium. It still allows for the dramatic stylization of theater and the use of the abstract, but in a more sustainable format. I believe that the visual interest of stop motion would help to introduce and draw people in that are not familiar with the works of great playwrights. Beckett, Ibsen, Miller and Shakespeare can often be seen as stuffy theater that only applies to the World War II generation. Many people stay away for that reason-they think that it’s boring or outdated. These plays have stuck around for a reason, though – there is something to be found there, something to discover. There are many plays that seem limited by their time simply due to the lack of a fresh approach. The delivery must be contemporized. I do not mean simply changing the time and location that the story is told in. I believe that the key to making a classic play fresh for a new audience lies in the approach. The way audiences experience entertainment has changed dramatically over the past few decades, and so must the way in which it is delivered – the format needs to be altered to bring in a new audience. While I certainly feel that the theater community should continue exploring these works on stage, I do think that there is an entirely new audience that can be brought to the lessons and inquiries that theatre provides by bringing these plays to them in a medium that stimulates the modern mind.
I also plan to continue collaborating with artists of other disciplines to devise new works. I am currently looking to focus in on the subjects of outsiders, confinement, gender, and sexual identity. Anyone can relate to feelings of isolation and confinement. There are many elements to be explored and great potential to ignite reflection. I think a first step in helping those who do not understand the plights of the LGBT community is to try to foster a better understanding of the deep inner hurt the community experiences. I think that to approach the subject with those who do not understand, we have to present the information initially as having nothing to do with gender or sexuality, but instead present ideas and concepts that they can relate to. My goal with these devised works is to encourage a broader spectrum of empathy with humanity.
Through the act of capturing motion and creating a dynamic marriage of sensory input, I seek to explore, question, and feel our universe as well as humanities relationship with it. I create out of necessity; a necessity for expression, understanding, and mental evolution.
Inspiration & Influence (CalArts MFA, EA 2012)
"Inspiration & Influence" essay submitted for my application to the MFA Experimental Animation program at CalArts for fall of 2012.
My creative birthplace was in theater and opera, so the stylized dramatics are very much second nature for me. Because of my history with these mediums I cannot help but to be heavily influenced by both. They are each very powerful in their own rights. I am inspired by playwrights like Samuel Beckett, Henrik Ibsen, Harold Pinter, Arthur Miller, and William Shakespeare. My Shakespearian influence is similar to my operatic influence; in that they both utilize large and beautifully stylized visuals. In addition, both opera (by definition) and Shakespeare’s work communicate through music. Shakespeare’s use of musicality in his language, I believe, is a large reason his work is not only still prevalent but produced in mass all over the world. The timelessness of opera and Shakespeare resides in their ability to resonate with the human spirit no matter the background of the audience. This is why I think most of the stories can be re-imagined in contexts other than their original. I have always been interested in the many ways a story can be told. My theater company in Chicago, The Neapolitans, makes it our purpose each season to present the same story through multiple perspectives and interpretations.
Ibsen, Pinter and Miller’s ability to present an understated and restricted reality can be felt in all walks of life. Everyone encounters societal constructs as obstructions of one’s true self at some point, if not all points in life. Although they are very different writers, Ibsen, Pinter and Miller taught me about the naturalistic approach to a script that is steeped in subtext. They are able to present the frightening reality of how relationships and societies function. Each of these playwrights has their own unique and deeply effecting use of silence as well. The dramatics of these playwrights are in the quietest corners of the script; their meaning is to be found in the space between.
The way something is communicated can lose or gain an audience based solely on structure. When it comes to storytelling, I prefer carefully chosen minimal language and pointed use of repetition and silence. One of my biggest influences in the composition of a story is Samuel Beckett. He was able to capture bits of humanity at the base line with his minimalistic language and abstract composition. Beckett’s use of repetition in Endgame is hugely inspiring to me because it demonstrates the power of context and causes an analysis of the purpose of speech. Endgame is by far one of my favorite plays, and I would love to explore it in stop motion at some point. The setting, imagery, and concepts are far reaching and leave plenty of room for interpretation. His use of humor to break up the dramatic is brilliant. He gives the audience a chance to breathe, and I believe that this breath is essential to the effectiveness of both the comedy and the drama.
The Coen brothers reimagining of Homer’s The Odyssey, O Brother Where Art Thou is one of the few films that I feel embodies all of the theatrical elements I hold dear. It is a perfect example of the balance between comedy and drama. It is extremely entertaining while at the same time presents vast ideas and concepts about humanity. It is visually, aurally, and intellectually engaging. Every detail of the film has something to examine, think about, and/or enjoy. I discover something new every time I revisit it, and that is the sort of composition I am interested in creating.
I most admire artists that are able to let go of the expected constructs of what they are creating and reach beyond those imposed borders. Aesthetically, some of my biggest influences have been Jackson Pollock, Henry Selick, Don Bluth, Philip Hunt, and the images produced by the NASA Hubble Space Telescope. Henry Selick’s James and the Giant Peach was the first full-length stop motion film I ever saw, and I immediately fell in love. His use of light and glow is extraordinary. There is something about specified glow and reflection that amps up the sense of magic and intrigue. Additionally, with James and the Giant Peach I started to see more texture than I had ever seen on film. Then he went and outdid himself with Coraline. The combination of animation techniques is stunning, and the hair was truly inspiring. Don Bluth is another major animation influence. He showed me that animation could be used to illustrate the darker and more honest side of the emotive being. The Land Before Time remains, in my mind, to be one of the most beautiful and touching animated films to date. Other Bluth films that I hold dear are The Secret of NIHM and An American Tail. He taught me about the importance of the visual relationship between a chaos and order. The more this relationship is developed, the more interesting the image will be. It is also a clear representation of how I feel this universe functions. The more my work reflects this functionality, the more I feel it can resonate on limitless levels.
Another visual aspect that is very important to my work is that it maintains a handmade quality. It is something that I greatly admire and attempt to embody in my work. When I first viewed Philip Hunt’s Ah Pook is Here I was left feeling big-eyed and exhilarated. The texture and lighting of this piece are absolutely captivating. His use of silence and vocal quality of the narrator (William S. Burroughs) pulls you in. The way in which the beings move communicates what the words do not. The visual design is unique and reflects life in its various grotesque beauties. With Ah Pook Hunt was able to walk that edge; the edge that leaves you thinking and feeling, with new connections poised to touch.
Outside of the art of animation, two of my biggest visual influences are Jackson Pollock and NASA’s Hubble Space Telescope. Pollock communicated in pure emotion. He used the paint as an extension of his body and deepest self. He allowed himself to simply be the vessel through which his subconscious communicated. His process is one that I admire above all others. Not to plan every last element, but instead to plan the feel, the essence of the piece; allowing that essence to move through you as you create without stopping off for logics input. The combination of harmony and chaos in his work is honest, and something I strive for every day.
The Hubble Space Telescope has produced images never seen before. It has provided us with a new context in which to view our universe. When we look at, for example, the star nursery housed in the Orion Nebula, one cannot help but to be transported to an intangible and indescribable place. The Omnimax Hubble 3D at Chicago's Museum of Science and Industry was one of the most moving film experiences I have ever had. Becoming engulfed in the nebula was soul-shaking. I will be forever grateful to Toni Myers for having the foresight to send Omnimax film on the last Hubble repair mission. The beauty and magnificence of the universe is spell binding. These photographs show us what we are made of. They are both empowering and humbling; a true common denominator in the human race. We all live under the same stars, and are made of the same stuff.
This is a concept that inspires me in everything I do; that we are all essentially the same. I believe the differences we perceive in one another, are actually similarities that have been dealt with in different ways due to whatever each individual’s life experience has taught them. Linked with that idea is the concept of micro reflecting macro. This was introduced to me through Carl Sagan’s Cosmos series, which is consistently a great source of inspiration. I believe that on every level of life there is a reflection to be found in something both smaller and larger than itself. There is an invisible common thread that binds us all together in both structure and function.
The last concept that informs my work at the very base is that we all have the ability to change ourselves. We have the power to change the way we think, act, and see the world. The book The Brain that Changes Itself by Dr. Norman Doidge changed me forever. It focuses on stories of neuroplasticity, meaning that the brain is plastic; it is changeable, moldable, and moveable. The power of thought is extremely strong and has measurable physiological impact. You always have the power to become the person you want to be no matter where you are in life. If animals and plants have been able to evolve; change with the changing world throughout time, then there is no reason why anything or anyone should be stagnant now. My heart, my hands, my mind, and my spirit are dedicated to exploring and sharing what it means to be human and a piece of this universe.
My creative birthplace was in theater and opera, so the stylized dramatics are very much second nature for me. Because of my history with these mediums I cannot help but to be heavily influenced by both. They are each very powerful in their own rights. I am inspired by playwrights like Samuel Beckett, Henrik Ibsen, Harold Pinter, Arthur Miller, and William Shakespeare. My Shakespearian influence is similar to my operatic influence; in that they both utilize large and beautifully stylized visuals. In addition, both opera (by definition) and Shakespeare’s work communicate through music. Shakespeare’s use of musicality in his language, I believe, is a large reason his work is not only still prevalent but produced in mass all over the world. The timelessness of opera and Shakespeare resides in their ability to resonate with the human spirit no matter the background of the audience. This is why I think most of the stories can be re-imagined in contexts other than their original. I have always been interested in the many ways a story can be told. My theater company in Chicago, The Neapolitans, makes it our purpose each season to present the same story through multiple perspectives and interpretations.
Ibsen, Pinter and Miller’s ability to present an understated and restricted reality can be felt in all walks of life. Everyone encounters societal constructs as obstructions of one’s true self at some point, if not all points in life. Although they are very different writers, Ibsen, Pinter and Miller taught me about the naturalistic approach to a script that is steeped in subtext. They are able to present the frightening reality of how relationships and societies function. Each of these playwrights has their own unique and deeply effecting use of silence as well. The dramatics of these playwrights are in the quietest corners of the script; their meaning is to be found in the space between.
The way something is communicated can lose or gain an audience based solely on structure. When it comes to storytelling, I prefer carefully chosen minimal language and pointed use of repetition and silence. One of my biggest influences in the composition of a story is Samuel Beckett. He was able to capture bits of humanity at the base line with his minimalistic language and abstract composition. Beckett’s use of repetition in Endgame is hugely inspiring to me because it demonstrates the power of context and causes an analysis of the purpose of speech. Endgame is by far one of my favorite plays, and I would love to explore it in stop motion at some point. The setting, imagery, and concepts are far reaching and leave plenty of room for interpretation. His use of humor to break up the dramatic is brilliant. He gives the audience a chance to breathe, and I believe that this breath is essential to the effectiveness of both the comedy and the drama.
The Coen brothers reimagining of Homer’s The Odyssey, O Brother Where Art Thou is one of the few films that I feel embodies all of the theatrical elements I hold dear. It is a perfect example of the balance between comedy and drama. It is extremely entertaining while at the same time presents vast ideas and concepts about humanity. It is visually, aurally, and intellectually engaging. Every detail of the film has something to examine, think about, and/or enjoy. I discover something new every time I revisit it, and that is the sort of composition I am interested in creating.
I most admire artists that are able to let go of the expected constructs of what they are creating and reach beyond those imposed borders. Aesthetically, some of my biggest influences have been Jackson Pollock, Henry Selick, Don Bluth, Philip Hunt, and the images produced by the NASA Hubble Space Telescope. Henry Selick’s James and the Giant Peach was the first full-length stop motion film I ever saw, and I immediately fell in love. His use of light and glow is extraordinary. There is something about specified glow and reflection that amps up the sense of magic and intrigue. Additionally, with James and the Giant Peach I started to see more texture than I had ever seen on film. Then he went and outdid himself with Coraline. The combination of animation techniques is stunning, and the hair was truly inspiring. Don Bluth is another major animation influence. He showed me that animation could be used to illustrate the darker and more honest side of the emotive being. The Land Before Time remains, in my mind, to be one of the most beautiful and touching animated films to date. Other Bluth films that I hold dear are The Secret of NIHM and An American Tail. He taught me about the importance of the visual relationship between a chaos and order. The more this relationship is developed, the more interesting the image will be. It is also a clear representation of how I feel this universe functions. The more my work reflects this functionality, the more I feel it can resonate on limitless levels.
Another visual aspect that is very important to my work is that it maintains a handmade quality. It is something that I greatly admire and attempt to embody in my work. When I first viewed Philip Hunt’s Ah Pook is Here I was left feeling big-eyed and exhilarated. The texture and lighting of this piece are absolutely captivating. His use of silence and vocal quality of the narrator (William S. Burroughs) pulls you in. The way in which the beings move communicates what the words do not. The visual design is unique and reflects life in its various grotesque beauties. With Ah Pook Hunt was able to walk that edge; the edge that leaves you thinking and feeling, with new connections poised to touch.
Outside of the art of animation, two of my biggest visual influences are Jackson Pollock and NASA’s Hubble Space Telescope. Pollock communicated in pure emotion. He used the paint as an extension of his body and deepest self. He allowed himself to simply be the vessel through which his subconscious communicated. His process is one that I admire above all others. Not to plan every last element, but instead to plan the feel, the essence of the piece; allowing that essence to move through you as you create without stopping off for logics input. The combination of harmony and chaos in his work is honest, and something I strive for every day.
The Hubble Space Telescope has produced images never seen before. It has provided us with a new context in which to view our universe. When we look at, for example, the star nursery housed in the Orion Nebula, one cannot help but to be transported to an intangible and indescribable place. The Omnimax Hubble 3D at Chicago's Museum of Science and Industry was one of the most moving film experiences I have ever had. Becoming engulfed in the nebula was soul-shaking. I will be forever grateful to Toni Myers for having the foresight to send Omnimax film on the last Hubble repair mission. The beauty and magnificence of the universe is spell binding. These photographs show us what we are made of. They are both empowering and humbling; a true common denominator in the human race. We all live under the same stars, and are made of the same stuff.
This is a concept that inspires me in everything I do; that we are all essentially the same. I believe the differences we perceive in one another, are actually similarities that have been dealt with in different ways due to whatever each individual’s life experience has taught them. Linked with that idea is the concept of micro reflecting macro. This was introduced to me through Carl Sagan’s Cosmos series, which is consistently a great source of inspiration. I believe that on every level of life there is a reflection to be found in something both smaller and larger than itself. There is an invisible common thread that binds us all together in both structure and function.
The last concept that informs my work at the very base is that we all have the ability to change ourselves. We have the power to change the way we think, act, and see the world. The book The Brain that Changes Itself by Dr. Norman Doidge changed me forever. It focuses on stories of neuroplasticity, meaning that the brain is plastic; it is changeable, moldable, and moveable. The power of thought is extremely strong and has measurable physiological impact. You always have the power to become the person you want to be no matter where you are in life. If animals and plants have been able to evolve; change with the changing world throughout time, then there is no reason why anything or anyone should be stagnant now. My heart, my hands, my mind, and my spirit are dedicated to exploring and sharing what it means to be human and a piece of this universe.
Why CalArts? (CalArts MFA, EA 2012)
"Why CalArts" essay submitted for my application to the MFA Experimental Animation program at CalArts for fall of 2012.
While researching potential Graduate Schools it quickly became clear to me that the CalArts Experimental Animation program was the only program in the country that met my educational desires. Along with the freedom to explore and experiment, it is very important to me that my professors are working in the field that they teach. This was the case for my undergraduate degree at Columbia College Chicago and I felt that this realistically prepared me for the professional world, which is after all, a large reason to pursue a degree. I also feel very strongly about a collaborative education. The opportunity CalArts provides its students to work with other departments is a large and important aspect for me. I believe that to create effective art, you have to embrace collaboration with artists of other disciplines. A bonus factor is the 24-hour campus. I generally do my best work in the middle of the night. Working in a cubicle for 40 mundane hours a week doesn’t leave much time or energy to achieve any flow. All creative work I have done recently has had to be done either on my lunch hour or between getting home from stage managing and sleep. I am desperate for a lifestyle that supports my creative self, it is what I have to offer the world and I will not allow it to be stifled.
My approach to art has always been experimental. I am constantly observing and analyzing the nature of any given material. Absolutely anything is fair game to transform into medium. I am in constant communication with the material at hand; listening and responding, never forcing. I create as a team with the medium. As the artist within me evolves, I hunger for a more expansive toolbox. I continue to work in theater devising new pieces, analyzing classics, and exploring the human spirit, but yearn to create something more permanent. I am constantly searching for mediums that would most effectively and interestingly communicate what I have to say; and I always find myself back at animation -- specifically stop motion. When I visualize my ideas coming to life on film, I can feel them vibrating through me, anxious to be out in the world. The potential for dynamic imagery, story, and concept is limitless. From where a particular hair is placed in a three-dimensional space to the frame by frame visual to the grand story arc, the composition can be manipulated in great detail. The medium also allows for exploration of the abstract, of the non-linear, of the purely emotive. Like theater, I believe that through the art of animation we can tap into the true nature of the human experience. We can create a magic that resonates deep within someone; that shines a light on a part of themselves they had forgotten or never even noticed.
Given the opportunity to study at CalArts, it would allow me to learn traditional animation techniques along with having the freedom to experiment with, and create new techniques. I would have access to facilities, guidance, and collaboration to further my artistry and ability to execute ideas. It would also help me to form a more solid understanding of the industry, its history, and the inherent potential within the medium. My goal in studying Experimental Animation is to cultivate my knowledge, skills, and artistry so that I can successfully grow within the medium of animation, and into my own artistic ambitions.
While researching potential Graduate Schools it quickly became clear to me that the CalArts Experimental Animation program was the only program in the country that met my educational desires. Along with the freedom to explore and experiment, it is very important to me that my professors are working in the field that they teach. This was the case for my undergraduate degree at Columbia College Chicago and I felt that this realistically prepared me for the professional world, which is after all, a large reason to pursue a degree. I also feel very strongly about a collaborative education. The opportunity CalArts provides its students to work with other departments is a large and important aspect for me. I believe that to create effective art, you have to embrace collaboration with artists of other disciplines. A bonus factor is the 24-hour campus. I generally do my best work in the middle of the night. Working in a cubicle for 40 mundane hours a week doesn’t leave much time or energy to achieve any flow. All creative work I have done recently has had to be done either on my lunch hour or between getting home from stage managing and sleep. I am desperate for a lifestyle that supports my creative self, it is what I have to offer the world and I will not allow it to be stifled.
My approach to art has always been experimental. I am constantly observing and analyzing the nature of any given material. Absolutely anything is fair game to transform into medium. I am in constant communication with the material at hand; listening and responding, never forcing. I create as a team with the medium. As the artist within me evolves, I hunger for a more expansive toolbox. I continue to work in theater devising new pieces, analyzing classics, and exploring the human spirit, but yearn to create something more permanent. I am constantly searching for mediums that would most effectively and interestingly communicate what I have to say; and I always find myself back at animation -- specifically stop motion. When I visualize my ideas coming to life on film, I can feel them vibrating through me, anxious to be out in the world. The potential for dynamic imagery, story, and concept is limitless. From where a particular hair is placed in a three-dimensional space to the frame by frame visual to the grand story arc, the composition can be manipulated in great detail. The medium also allows for exploration of the abstract, of the non-linear, of the purely emotive. Like theater, I believe that through the art of animation we can tap into the true nature of the human experience. We can create a magic that resonates deep within someone; that shines a light on a part of themselves they had forgotten or never even noticed.
Given the opportunity to study at CalArts, it would allow me to learn traditional animation techniques along with having the freedom to experiment with, and create new techniques. I would have access to facilities, guidance, and collaboration to further my artistry and ability to execute ideas. It would also help me to form a more solid understanding of the industry, its history, and the inherent potential within the medium. My goal in studying Experimental Animation is to cultivate my knowledge, skills, and artistry so that I can successfully grow within the medium of animation, and into my own artistic ambitions.
Artist Statement (CalArts MFA, EA 2012)
Artist Statement submitted for my application to the MFA Experimental Animation program at CalArts for fall of 2012.
Artistically and intellectually, I work to explore the functionality of our universe, as well as our relationship with it, ourselves, and those around us. I investigate these concepts through the act of capturing motion -- both physical and emotional. I look to slow down, zoom in, and highlight the moments directly preceding a shift. It is in these moments that I believe some truth appears.
Through my work in both theater and painting I have sought to initiate a process; one of thought, or feeling, of connection, of reflection, curiosity, and/or of understanding. I believe that we are currently in the process of a major consciousness shift, and that a large part of this shift revolves around how we relate to one another. We presently live in a mass mindset of separatism. Much of the media presented to the public today supports an us v. them, right v. wrong mentality. I think that this is an extremely dangerous point of view, and is condoned and rewarded time and time again. The most personal element of this for me is when it is applied to the concept of gender, and the issues that the LGBT community faces. We as a people attempt to function and rationalize within a black and white structure, yet the true nature of life is anything but. It’s grey, it’s red, it’s ultraviolet, it’s a chaotic conglomerate, and we doom ourselves from the start by approaching the world as if there were only two options for anything. I am fully dedicated to the LGBT community and hope that through my art I can help to facilitate a process of reflection and understanding.
I seek to share honest information in a way that opens and sparks the mind and heart. I believe this can be achieved through thoughtful composition, use of scientific study, and trust in artistic intuition. Throughout my humanitarian inquiries, I find it extremely important to remain educated in the sciences, to know what is going on in the world of physics, neurology, and sociology. The verbiage may be different, but it doesn’t take long to see that the functionality of each reverberates throughout the other. Studies are constantly being released examining our ever-changing world. I believe that to create art that is present and accessible; one must have a current understanding of how the universe/world behaves. Remaining educated in the various sciences is a large part of that for me.
The majority of my projects are fueled by the desire to present something that takes the viewer out of their pre-determined societal constructs and allows them to experience the work purely as a human being. I am exploring different ways in which I can achieve that effect. I began to explore universal accessibility in my series of Cosmos paintings. That personal project was about letting the natural abstract patterns create themselves, while I was able to guide the image with color, transparency, and texture. I believe that by creating and witnessing images that reflect the flow of the universe, we are able to step outside of ourselves and view the art openly. Another approach is to utilize studies in how the brain processes and organizes information. In my animated self portrait piece I began experimenting with the concept that was illustrated by the bird in a cage optical illusion, combined with the concept of micro reflecting macro. By placing close up photographs of various man-made and naturally occurring objects next to each other in rapid succession, I attempted to create what I call a “blinking universe”.
As I create I try to maintain a seductive quality throughout my work. This visual seduction is part of my scientific application, as it can be used to relax and open the mind. It causes a physiological reaction. Pupils and blood vessels dilate when aroused (not exclusive to sexuality), and therefore are able to receive more information and more oxygen to process that information. One of the best tools of seduction is the visceral response. I believe that by creating a visceral response it momentarily clears the mind in order for the viewer to go beyond their day to day mindset and truly be with the art; able to freely feel, think, and/or make connections that otherwise might have sat dormant. A moment used to encourage a physical feeling outside of the logical mind, and in turn begin a personal and internal process. I like my art to live right on the edge of the unknown, the edge of ambiguity, the edge of possibility. It is a place the mind and soul can soar from.
Trusting my instincts is an essential part of my creative process. I believe strongly in the idea that ambiguity breeds creativity, and implement that idea whenever I approach a project. There is always much thought and meditation that goes into a piece, but when it comes down to the moment of creation I must remain open to the unknown and trust my instincts. I have to fight off the part of me that needs control and linear thought, because if I do allow myself to let go of the immediate brain, to welcome the subconscious and its relationship with the medium at hand, then it tends to result in something more than I could have ever dreamed. It is essential to my process to listen carefully to my intuition and to the medium at hand; finding the balance between my conscious and subconscious self.
Through the act of capturing motion and creating a dynamic marriage of sensory input, I seek to explore, question, and feel our universe as well as humanities relationship with it. I create out of necessity; a necessity for expression, understanding, and mental evolution.
Artistically and intellectually, I work to explore the functionality of our universe, as well as our relationship with it, ourselves, and those around us. I investigate these concepts through the act of capturing motion -- both physical and emotional. I look to slow down, zoom in, and highlight the moments directly preceding a shift. It is in these moments that I believe some truth appears.
Through my work in both theater and painting I have sought to initiate a process; one of thought, or feeling, of connection, of reflection, curiosity, and/or of understanding. I believe that we are currently in the process of a major consciousness shift, and that a large part of this shift revolves around how we relate to one another. We presently live in a mass mindset of separatism. Much of the media presented to the public today supports an us v. them, right v. wrong mentality. I think that this is an extremely dangerous point of view, and is condoned and rewarded time and time again. The most personal element of this for me is when it is applied to the concept of gender, and the issues that the LGBT community faces. We as a people attempt to function and rationalize within a black and white structure, yet the true nature of life is anything but. It’s grey, it’s red, it’s ultraviolet, it’s a chaotic conglomerate, and we doom ourselves from the start by approaching the world as if there were only two options for anything. I am fully dedicated to the LGBT community and hope that through my art I can help to facilitate a process of reflection and understanding.
I seek to share honest information in a way that opens and sparks the mind and heart. I believe this can be achieved through thoughtful composition, use of scientific study, and trust in artistic intuition. Throughout my humanitarian inquiries, I find it extremely important to remain educated in the sciences, to know what is going on in the world of physics, neurology, and sociology. The verbiage may be different, but it doesn’t take long to see that the functionality of each reverberates throughout the other. Studies are constantly being released examining our ever-changing world. I believe that to create art that is present and accessible; one must have a current understanding of how the universe/world behaves. Remaining educated in the various sciences is a large part of that for me.
The majority of my projects are fueled by the desire to present something that takes the viewer out of their pre-determined societal constructs and allows them to experience the work purely as a human being. I am exploring different ways in which I can achieve that effect. I began to explore universal accessibility in my series of Cosmos paintings. That personal project was about letting the natural abstract patterns create themselves, while I was able to guide the image with color, transparency, and texture. I believe that by creating and witnessing images that reflect the flow of the universe, we are able to step outside of ourselves and view the art openly. Another approach is to utilize studies in how the brain processes and organizes information. In my animated self portrait piece I began experimenting with the concept that was illustrated by the bird in a cage optical illusion, combined with the concept of micro reflecting macro. By placing close up photographs of various man-made and naturally occurring objects next to each other in rapid succession, I attempted to create what I call a “blinking universe”.
As I create I try to maintain a seductive quality throughout my work. This visual seduction is part of my scientific application, as it can be used to relax and open the mind. It causes a physiological reaction. Pupils and blood vessels dilate when aroused (not exclusive to sexuality), and therefore are able to receive more information and more oxygen to process that information. One of the best tools of seduction is the visceral response. I believe that by creating a visceral response it momentarily clears the mind in order for the viewer to go beyond their day to day mindset and truly be with the art; able to freely feel, think, and/or make connections that otherwise might have sat dormant. A moment used to encourage a physical feeling outside of the logical mind, and in turn begin a personal and internal process. I like my art to live right on the edge of the unknown, the edge of ambiguity, the edge of possibility. It is a place the mind and soul can soar from.
Trusting my instincts is an essential part of my creative process. I believe strongly in the idea that ambiguity breeds creativity, and implement that idea whenever I approach a project. There is always much thought and meditation that goes into a piece, but when it comes down to the moment of creation I must remain open to the unknown and trust my instincts. I have to fight off the part of me that needs control and linear thought, because if I do allow myself to let go of the immediate brain, to welcome the subconscious and its relationship with the medium at hand, then it tends to result in something more than I could have ever dreamed. It is essential to my process to listen carefully to my intuition and to the medium at hand; finding the balance between my conscious and subconscious self.
Through the act of capturing motion and creating a dynamic marriage of sensory input, I seek to explore, question, and feel our universe as well as humanities relationship with it. I create out of necessity; a necessity for expression, understanding, and mental evolution.
BIO (CalArts MFA, EA 2012)
Short bio submitted for my application to the MFA Experimental Animation program at CalArts for fall of 2012.
In December of 1982 Mary Patchell was born on an Army base in ElPaso, TX. As an Army brat she moved around a lot, which created an ease with the temporary nature of life. In the summer of 1997, Mary visited her grandparents at Inspiration Point Fine Arts Colony, an opera festival they were the groundskeepers for. Showing interest and ability, Mary was taken under wing of the Wig Master. She found a sort of sanctuary there and propelled herself into the backstage theater world. In 2003, after studying at the Aveda Institute Chicago, Mary earned her Illinois Cosmetology License. She then went on to receive her B.A. in Theater (Directing) from Columbia College Chicago. Mary became an active member of the Chicago theatre community: stage managing, directing, hairdressing, wig making, and providing specialty make-up, millinery, and other fine art services. After college Mary dove in as the Wig maker’s Apprentice at Chicago Shakespeare Theatre where she worked to refine her craftsmanship hair by hair. While theatre was her creative birth place, Mary longed to create in a more permanent medium. In 2009, she suffered from a back injury that forced her out of work for over a year. It was during that time period that Mary truly realized herself as a visual artist. Because she was not able to move very much she had to allow the art to move for her. She used the time to paint as much as possible, teach herself how to draw, and educate herself in the field of animation. She was determined to turn this traumatizing event into something productive; to channel the pain into something potentially beautiful and expressive. It was during that time that it became blaringly obvious that all of her passions were finally converging, and that her artistic subconscious would find a home in stop motion animation.
In December of 1982 Mary Patchell was born on an Army base in ElPaso, TX. As an Army brat she moved around a lot, which created an ease with the temporary nature of life. In the summer of 1997, Mary visited her grandparents at Inspiration Point Fine Arts Colony, an opera festival they were the groundskeepers for. Showing interest and ability, Mary was taken under wing of the Wig Master. She found a sort of sanctuary there and propelled herself into the backstage theater world. In 2003, after studying at the Aveda Institute Chicago, Mary earned her Illinois Cosmetology License. She then went on to receive her B.A. in Theater (Directing) from Columbia College Chicago. Mary became an active member of the Chicago theatre community: stage managing, directing, hairdressing, wig making, and providing specialty make-up, millinery, and other fine art services. After college Mary dove in as the Wig maker’s Apprentice at Chicago Shakespeare Theatre where she worked to refine her craftsmanship hair by hair. While theatre was her creative birth place, Mary longed to create in a more permanent medium. In 2009, she suffered from a back injury that forced her out of work for over a year. It was during that time period that Mary truly realized herself as a visual artist. Because she was not able to move very much she had to allow the art to move for her. She used the time to paint as much as possible, teach herself how to draw, and educate herself in the field of animation. She was determined to turn this traumatizing event into something productive; to channel the pain into something potentially beautiful and expressive. It was during that time that it became blaringly obvious that all of her passions were finally converging, and that her artistic subconscious would find a home in stop motion animation.
Intro
Hi there! Welcome to my little piece of the Internet. Here I will share my progress as an artist, my work, and my process. This blog will represent my journey openly and honestly. I will share my celebrations,frustrations, failures, and sucesses in an attempt to document where I've been and where I'm going.
I have recently applied to CalArts for an MFA in Experimental Animation for the Fall of 2012. I will post as much as I can of what I sent in for this. The application materials consisted mainly of your portfolio, artist statement, and a series of short essays. My heart has not stopped pounding since I sent out my work in late December. Supposedly the letters are to be sent out sometime in March. Fingers crossed they think I'm ready!
Questions, comments, and constructive feedback is welcome and encouraged at Zizi's Patch! :)
Thanks for visiting!
I have recently applied to CalArts for an MFA in Experimental Animation for the Fall of 2012. I will post as much as I can of what I sent in for this. The application materials consisted mainly of your portfolio, artist statement, and a series of short essays. My heart has not stopped pounding since I sent out my work in late December. Supposedly the letters are to be sent out sometime in March. Fingers crossed they think I'm ready!
Questions, comments, and constructive feedback is welcome and encouraged at Zizi's Patch! :)
Thanks for visiting!
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