A Short Stop Motion Experiment

STATEMENT For this project, I knew that I didn’t want to do something narrative in nature. While I’m sure an effective narrative could be told within 6-12 seconds, I was more interested in using that particular guideline to create something…

A Short Stop Motion Experiment

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STATEMENT

For this project, I knew that I didn’t want to do something narrative in nature. While I’m sure an effective narrative could be told within 6-12 seconds, I was more interested in using that particular guideline to create something that was first and foremost aesthetically interesting. I also wanted to create something that the particular subject matter wouldn’t be the focus, but rather the movement/animation happening would be the priority. The idea that a Rubik’s cube was chosen as the primary subject of the video didn’t have any conceptual/thematic reasoning in my mind, other than I thought that I could create something with that object that achieved my goal of making something visually interesting.

I was also very heavily motivated and inspired by Norman McLaren’s Pas De Deux ( https://www.youtube.com/watch?v=WopqmACy5XI). The way McLaren composes the movement is mesmerizing, particularly when the idea of visual multiplication was introduced. I wanted to reference that in my work and try to build off of that idea in a way that suited my own goals with the project. McLaren primarily uses visual multiplication, in my view, to accentuate the performances on screen. I tried using it to accentuate the jolty, low-fidelity quality of stop-motion.

Something that came through with this project that occurred to me only after the piece was done is that by not having a particular goal in mind with the piece, the process of making it makes itself present. This is what I mean: when I began the project, my stress level was low. As I continued the process, my stress increased. My lack of plan was obviously the primary contributor to this. And, after the piece was finished, my stress evaporated. I see this playing out in the piece. The piece begins low intensity, increases dramatically, and then cycles back to the beginning. In a way, this progression is true in a lot of my work, so if there was any conceptual depth in this piece, it was that.

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