Beforehand- Clay on Multiplane - 7:31 - Made at Massart - 2012
Concept
The project came about after I spent a lot of time traveling. I found that after this period of continual upheaval, I no longer found comfort in permanent dwellings. The conflict of wanting both change and stability led me to study the effects of a life in transit. I explored the ideas of the temporal relationship and the long term impression it leaves on a person. Through this investigation, I realized the importance of community in a world of constant transition.
With this theme in mind, I decided not to use a storyboard. The unpredictability of straight ahead animation helped me achieve a sense of chaos. I chose to use clay because of its responsiveness to the human touch and its versatility in shape. Since I was focusing on human relationships, seeing finger prints and smudges became essential to the film's aesthetic.
Technical Process
For the films beginning, I wanted to impart a sense of claustrophobia. I decided to set the scene inside of a knot. The atmosphere needed to be dense and imposing but also internal and quiet. To achieve closeness as well as visual depth, I used a combination of 3d and 2d elements on a multi-plane setup. Through this mixture of forms, I was able to shoot the clay very close up while still capturing the full scale of the sculptural structures.
Since I was working under the camera my biggest challenge was creating a sense of depth. Because I wanted the film to take the form of a journey, the world needed to be expansive and indefinite.
I wanted the space to appear infinite without any parameters or shadows, so I backlit the entire film using a blue gel on a lightbox. However, it became difficult to create a believable space without any frame of reference.
One of the solutions came from using a thin wire armature inside the clay puppets. This helped the figures interact more realistically. However, once I wanted to regain the fluid movement of the clay I would take the wire out, seal the seam, and continue animating. Replacement body parts also aided the figures to move dimensionally.
Using the clay as a drawing tool was crucial in creating a z-axis. I was able to force extreme perspective while still maintaining the unique texture and visceral quality of the clay. By combining this method with camera zooms and pans, I was able to change the scale quickly without the preplanning often involved in stop motion
The mixture of techniques allowed for greater metamorphic potential. I was able to work instinctively and spontaneously. The freedom from a storyboard led to an unexpected dialogue with the medium itself.
The abstract section of the film acted as a bridge between characterized appendages and complete human forms. Since the film's recurring visual element is serpentine linework, I decided to focus solely on that form.
The illusion of both camera and figurative motion was difficult to produce simultaneously without the aid of background elements. The solution came from varying the thickness of the vines as the glass was panned across the frame. This changing size ratio created a sense of movement through space.
I began with three different groupings of characters in unison. From each of these hold positions, I moved the figures into a solitary dance, then reunited everyone into another complex group pose. The result was a harmonious dance between many different people.
