Following the sell-out success of our partnership with Edge of Frame at our last three festivals, EOF return with four curated programmes of work at the intersection of animation, experimental film and artists’ moving image. Specially curated by Edwin Rostron – the London-based artist, animator, writer, curator, editor of Edge of Frame blog and festival juror these programmes celebrate this incredibly rich and vibrant, yet often marginalised and hard to define art form.
This programme focuses on a fascinating subset of experimental animation, the painted animation, featuring a varied range of approaches to making this unruly substance move, including painting on glass, on canvas and on photographs, cut-out paintings on paper, painting with the body and more. The selection celebrates the fundamentally hybrid nature of animation, colliding and combining quite different mediums, in this case paint and film, to generate new and unexpected possibilities. Featuring narrative and abstract work, studio experiments and emotional landscapes, each film creates its own unique world borne out of paint and its material qualities.
Follow the links to find out more about our other Edge of Frame programmes: Memento Stella; Surface Memory and Potamkin.
With an introduction by curator Edwin Rostron and filmmaker Q&A.
At Close-Up Cinema book tickets
Stacking (Vicky Smith, UK)
“In Stacking I use a technique of straight ahead animation that I refer to as ‘direct liquid animation’. The continuous shifting and layering of painted animated scenes are equated to a sense of ecological instability and to emotions of uncertainty and overwhelm.” – V.S.
Showing on a 16mm print.
2006, 7min
MOTH (Allison Schulnik, USA)
The film seeded and bloomed from the simple act of a moth hitting the artist’s studio window and continues as a wandering through the primal emotions of birth, motherhood, body, nature, metamorphosis and dance.
2019, 3min
Brush Work (Clive Walley, UK)
The third in Clive’s ‘Divertimenti’ series. The viewer is taken on a journey into a four-dimensional abstract and painterly world, where animated brush strokes dance and dart across levels of glass.
1992, 3min
I’m OK (Elizabeth Hobbs, UK)
In 1917, Austrian artist Oskar Kokoschka was in hospital, injured and shell-shocked from World War I, and heartbroken from the end of a famous love affair.
2018, 6min
Lost Islands of Philadelphia (Jennifer Levonian, USA)
Once, there were islands in the river beside Philadelphia. After reading about them in a library book, a girl sets out to find them as her mum follows frantically on roller skates.
2018, 10min
Valdediós (Elena Duque, Spain)
In Valdediós Gualterius built a monastery in the 13th Century. In Valdediós there is a wall, there is a horse, there is a road, there is the whole universe.
2019, 3min
Slap Stick (Clive Walley, UK)
The fifth in Clive’s ‘Divertimenti’ sequence. A journey into a four-dimensional abstract and painterly world.
1993, 3min
Tad’s Nest (Petra Freeman, UK)
The film examines the way memories are held as sensations and the ability of memory to invent people and places to perform the sensations.
2009, 5min
Flow (Jane Cheadle, UK)
An attempt to make animation by ‘getting out of the way’ of materials – to let them animate themselves.
2015, 3min
Apartment 6F (Matt Bollinger, USA)
While his wife is away on a trip, a depressed web designer meets his new neighbours who invite him to their housewarming party.
2017, 9min
Dark Matter (Clive Walley, UK)
The sixth in Clive’s ‘Divertimenti’ sequence. A journey into an abstract and painterly world, where animated brush strokes dance and dart across levels of glass in perfect synchrony with the music.
1994, 4min
Álommalom (Dreammill) (Dóra Keresztes, Hungary)
This four-minute animated “capriccio” mourns that disappearing world of the countryside, which soon you will only meet in your imagination, in your dreams.
2009, 4min