Väärin vei – animated short film.

26Mar09

Hi! I’m Per(1984) from Oslo. I was a graphic/web designer geek, gone musician and then gone back to visual art again. These days I like to do a little bit of everything =)

I’ve done an animation project called ‘Väärin vei’.

You can check out the film here: http://www.youtube.com/watch?v=p02-HyGq1Cs&fmt=22

The film is a sequel to this other animation I did for one of my songs last semester called ‘Hopp & Sprett’ ( http://www.youtube.com/watch?v=zicmuah2e3U&fmt=22 ). While ‘Hopp & Sprett’ focuses on surrealism in an ecstatic and trippy psycedelic context, ‘Väärin vei’ is leaning more towards the mystical (also, the music is not done by me in this one).

The film has ended up like sort of a lucid dream (or epiphany if you may) had by the main character in ‘Hopp & Sprett’ when he is flying up towards the sky in the last scene of that movie.

My process when working with these films are very much inspired by how I also think about composing and producing music. I want to maintain some of the playful and naivistic aproach to it all.  Everything I’ve learnt about music production is a result of having grown up in a time where almost every averagely wealthy person has access to extremely powerful technology. I’ve gotten to play around in the most childish ways all through my up-bringing with technical equipment scientists could only dream about 25 years ago. So I’ve played around and had fun for many years and slowly (without me noticing too much) it’s started to develop into something more meaningful and concrete. Still, the fundamental aproach to it all has still maintained: Sit down, play around, cut up some sounds, add some effects, try not to think too much, see what happens.. I think that after many years of this type of trial and error a sort of sophisticated naivism starts to surface that’s quite unique for my generation.

Rather than starting out with an intellectual concept or any direct message I want to get across, I like to rather build a pallette of characters and environments without thinking too much first. Then rather hope that the things I make will at some point start to inspire me and start telling me what story I’ll be able to make with the building blocks I have at hand. My hope is that if I am a person who gets involved with art theory/philosophy outside the time I use for my own production, then this will become part of my subconsciousness and affect the things I create without me having to actively try to propagate anything.

Alrighty, ramble over.

Per =)

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One Response to “Väärin vei – animated short film.”

  1. Your short film includes classical features of the early Surrealism, Tanguy, Ernst, the later, by the way, being shown at the moment (still?) in Stockholm Moderna Museet. Only, this time, you work it out with digital means and animation. Probably within animation art, much could be said of your work, which I do simply know anything about.

    Your attitude is completely logical in having first gathered the building blocks, in (new) media, which compared to other media share their general character: you need time and effort to learn the steep curve of the craft. The craft of using various media gives you the possibility of building forms: you call them environments and characters, since these forms are already imbued with meaning and narrative possibilities. With the bricks you have you can then start building the house, whatever that will be.

    Together with the sound you create these figures seem to live through a completely magic life, unknown to us regarding visual form, but interpreted by us through our own experiences. This makes the three gnomes sitting at the fire understandable, the flying monster arriving and other worlds visited, all in all makes exactly our kind of world, in principle, smaller things moving against the background of a bigger thing, the environment. Some struggling seems to be going on, perhaps as an eternal search for balance. The symmetrical elements, or even environments opening up and closing symmetrically brings me to think about symbolic elements – the only way perhaps we might interpret your film – adopting a figurative status as elements in an environment. This is emblematic art, from Tarot to Mandalas, and somehow share an Jungian idea of individuation. If we would try to make “mandala” of our own life, it could not be so perfectly symmetrical as those we see in Buddhism, Hinduism and Islam. Your short film, then, is to be interpreted existentially, as much Surrealist art. I like the feeling and athmosphere of the short film, what remains, maybe, is to try to make the script, the story behind the scenes and put together another epic, about yourself.

    Theory and philosophy is simply a collection of materials where different phenomena are discussed, submitted to critical discourse- which means a number of sets of ways of talking and writing about phenomena, situations, usually other texts. If you want to go into that, you will learn another kind of medium, writing and talking, but these texts, as theory for example, can be useful only for their own functionings, talking and writing. If theory, like in art history, is joined by visual examples, showing and not just saying, you will be able to compare that what is shown with what is said. What do you learn by that? You will learn a certain way of dealing with, say your own kind of work, by way of talking and writing. Can this help your work of creating more films, sounds, narratives? Maybe, but probably not. A completely other thing is, that you work not only as a visual or sound creator, but also as a talking and writing person who, I suppose, need to know other things than 3D or animation softwares.

    There is a lot of power involved in the different discourses on art work. We know or should know how art criticism works, and how silence works. We could say, that your own art work is embedded or surrounded by a number of discourses and powers, which generates possibilities and problems for you as a creator of music and images. You should of course know some things about these discourses. You are yourself a generator of discourse, if we care to enlarge the idea of discourse onwards, not only as something decided and having legimitation on paper and in a verbal form. Other forms of discourses must exist, power-related actions and judgements that informs us, differences made as to what we are – even to ourselves. One set of differences, that should be taken as a part of a discourse, is, of course, your own work, as work. To include the work itself, the mise-en-scene of the images and sounds, in the notion of text, or the notion of discourse, is not a new idea. The short history of modern and postmodern art, in theory where showing and saying goes side to side, will bring this power-related idea, that art is discourse, into a certain light.


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