A very deftly made & absorbing documentary directed by Robert D’Esposito &
shot by Kevin Forrest about the excellent Portland, OR based artist Bruce Conkle.
It’s a bit of a download but worth it both as a nifty bit of filmmaking
(and everything is good – listen to that crystal clear sound!)
but also because Bruce’s work is great.
There’s a big fat HD version on the Vimeo link above ..
We’re leaving you with something chunky to contemplate
as we’re going to take a summer break now. We’ll be back on September 14th (unless anything so
wonderful & time limited appears we just have to put our
Daiquiris down, shuffle into the house & post it…)
Have a good summer!
Two from the ever reliable, delightful, and in its quiet & unassuming
(but frequently deadly – it’s the Columbo of art blogs) way, mould-breaking Sporkworld Microblog, which if you don’t follow religiously, you should.
Ironically, given the setting, A Small Spork Lumiere could constitute a kind
of ostensive definition of dryness.
Assured & atmospheric piece from Laurie Johnson.
Interesting to compare it with previous work.
There’s a distinct sense of consolidation, of raising the game,
going on here.
One to watch.
‘uses a custom mobile projection setup installed in a car
to project an animated virtual character onto the cityscape.
Short pre-recorded video loops are arranged into seamless motion
patterns by the computer software, allowing interaction with the
architecture and passers-by in real-time.’
Documentation of two projects using the open source processing language.
A String was made by E.J.Gone for a performance at the National Theater
of Korea & Flight Patterns involves flight pattern visualizations from FAA
data parsed and plotted in ‘Processing’ by Aaron Koblin.
Fascinating & austerely beautiful.
There’s something -I don’t know –insouciant about these School of Athens folks.
That’s one of the definite links, a kind of throw away, thrown together quality, that teases
because I’d be equally unsurprised to learn that every second was laboured over mightily.
(Think not though, but of course that’s not a criticism. )
Of course the styles of the various “members” differ somewhat too. Eddie Whelan seems to specialise in a rather garish but fetching pop surrealism.
I like the somewhat in your face and worn at the edges motion graphics as much
as I find genuinely evocative the appropriated beach (eclipse?) footage.
Also, what’s not to like about a movie featuring a minor BBC cult
science reporter of the 80s…
Whelan’s idosyncratic way with spelling engages rather than irritates
which for me at least is a bit of an acid test.
Good.
More from Eddie the Wheel in the next days and weeks.
