a gif inspired by Munch, The Scream.
‘Helicopter', an collaboration with Bailiff. An oil paint stop-motion animated music video.
A shot of the animation music video for "Helicopter" 2014, by Bailiff the band.
A still from "Long Vocation", 16 mm film and animation. 03:42, 2011
A still from "Long Vocation", 16 mm and animation in HD, 2011 Work in Progress
A still from "Nien", an animation part of the On the Other Hand animation show, 2011
The first frame of the original image from animation "Ai Ai", 2011
About there/ almost
Driving in bad weather, Good morning, and Kitchen:
the There/Almost Trilogy.
The concept for there/almost first came to me when I was painting the driving scene animation; the dialogue came after. At the time, I had had my first encounter with Kurt Schwitters’s poem, “Ursonate.” The pleasure of reading the poem, the text flying over the pages, gave me a thrill. I thought the looping and cycles of the animations perfectly suited Schwitter’s playful repetitive words and sound. My intention is to use the playful cycles to face rather heavy, yet daily topics that often occur in my mind. The text mainly serves as subtitles for non-Mandarin speaking viewers, though it also serves as clues for interpreting the scenarios; although the information is not provided all at once, it can all be gathered in the end. In Kitchen, one may understand more than one thought one did. Inserting Chinese or the Taiwan-Mandarin phonetic symbols ㄅㄆㄇㄈ is to add a little visual element as symbols during the reading experience for the piece. It is only there to describe the sound effects from the audio; the text is non-narrative yet symbolized the sound. In contradiction, instead of the text/ symbol acting as the translation of the audio, the audio became the translation of the text.
The sound design for there/ almost is straightforward. The choice of maintaining using the traditional Foley Art is to build up the realness of the animated environment. The mumble of the voice acting syncs with the movement of animation; murmuring is an act of expression but not for the purpose communication. I recognize that as an ignorant act of denial of certain facts: true feelings or things we fear. At the same time, it is a way of wanting to express but not knowing how.
By using text, sound, and oil painted animations, I construct a timeline within a theatrical framework for viewers to focus on three short scenarios about death, love, and caring. The three vignettes serve as a trilogy; the animation itself, the text, and the sound are the elements that form a triangular relationship. Even though the three shorts do not have direct connections with each other, any missing element will break the trilogy as a whole.
Oil Painted Animation
- Driving in Bad Weather 1: 21
- Good Morning, 00: 33
- Kitchen, 00: 50