#drawinginmotion

[mischa-on-paper]

Field

[mischa-on-paper]

Blue mood

[mischa-on-paper]

Joy

Done by Sketches

[mischa-on-paper]

Aurora 

Done by Sketches

[linedrama]

Drawing Inspiration: Pierre Huyghe’s “No Ghost Just a Shell”

“No Ghost Just a Shell” was initiated when French artists and frequent collaborators Pierre Huyghe and Phillippe Parreno paid a visit to an agency that produces and sells animated stock characters. Anyone, from animators to advertisers, can go to these agencies and, in essence, buy an actor. The artists bought a Japanese manga character by the name of Annlee. Huyghe and Parreno used the original computer file as a starting point for an extended exhibition process in which several artists have been asked to appropriate the character and make a short digital animation that brings Annlee to life. (Text here from 2003 show at SFMOMA.)

Here is a link to a video of the artist discussion the project.

Image above:

Pierre Huyghe, “One Million Kingdoms” (2001).

[linedrama]

Drawing Inspiration: Qiu Anxiong

Qiu Anxiong was born in the capital of Sichuan province in the southwest of China.  In his animated films, Qiu co-mingles the classical and the contemporary, using the traditional Chinese ink-and-wash style to transpose contemporary social and environmental issues onto traditional Chinese landscapes. 

Image above:

Qui Anxiong “Cake Woods”, detail, 2014.

Watch the video work the includes this image called Cake.

[linedrama]

Drawing Inspiration: William Kentridge

William Kentridge is a South African artist who uses drawing as the source of his work. 

From Art 21:

“Having witnessed first-hand one of the twentieth century’s most contentious struggles—the dissolution of apartheid—Kentridge brings the ambiguity and subtlety of personal experience to public subjects that are most often framed in narrowly defined terms.

Using film, drawing, sculpture, animation, and performance, he transmutes sobering political events into powerful poetic allegories. In a now-signature technique, Kentridge photographs his charcoal drawings and paper collages over time, recording scenes as they evolve. Working without a script or storyboard, he plots out each animated film, preserving every addition and erasure. Aware of myriad ways in which we construct the world by looking, Kentridge uses stereoscopic viewers and creates optical illusions with anamorphic projection, to extend his drawings-in-time into three dimensions.”

Here is a link to a video showing the artists process.  Here is another link for a video of the artist discussing his work and the ideas of pain and sympathy.

Image above:

William Kentridge, drawing for the film “History of the Main Complaint”, 1995–96. Charcoal and pastel on paper; 31 ½ x 47 ½ in.  

[sronson]

Back to life, back to reality.... #monday #ineedsomegoodnews #darrenlegallo #Repost @darrenlegallo ・・・ Information overload #darrenlegalloart #graphite #drawinginmotion #television #surrealism @darrenlegallo (at Silver Lake, Los Angeles)