AXW- LANDSCAPE continues your exploration of dimensional screen space how was this actually made?
AC- Actually this film was not a project, in the sense that I had it in mind.
Since I come to Paris in 2010, I began to work with an experimental software in order to make a synthetic image research.
By that time I had an interactive installation project, based on video animation about a science field – Complexity and Critic States – I began to do my research.
Trying to explore the possibilities of the experimental software, during my research, about more than a year, I had the opportunity to generate a lot of images and video animations. Some very different from others, so I had some groups, some of them were related.
I manage to make the research in video animations to what was my goal – the interactive installation.
Anyway during this process I had a lot of image and video animations that explores the possibilities of the software generating in Black and white.
All the videos were very impressive, and the more I saw them, more the idea was growing up of making something with them, relate to nature,
This software is a generative fractal based, that’s why every time I saw these images, it seems to me, that I saw natural landscapes – which is not so far from, because nature is fractal. So for me this film is not “abstract”!
I can see all the nature landscapes with beaches, water, mountains, flours, trees, but also some artificial landscape like buildings, ships and airport runaways…..
Also the idea of such a classic fine arts theme, such as “‘landscapes”, generate with an innovate technology was getting bigger and seducing me. Also I questioned myself what is the most important in a landscape? and the skyline appears as a character.
We are not “inside” a painting , we “are in” the moving image field, so the most important to me is really the movement.
As everything in these landscapes are imaginary, also the movement, the representation of any movement has to be poetic. Anyway we always are in the field of “looking” – the way we look to things in general and in this case particularly to landscape. Landscape doesn’t exist has a bit of nature. Nature in it self is no landscape. Landscape is only the way we look nature and how we frame it in a picture, as postcards which appear as small rectangles in the film all the screen and small screens that are running simultaneously represent our way of looking to nature, which is different from space and time in Man History. This is my way, than I expect will be poetic and technological.
AXW- What has led you to this path of abstract image?–please tell us about your creative process, how do you start and proceed.
AC- I am an artist with classical academic training in painting and sculpture. So during a long time, more than 20 years, I had make my research in those fields. Since I was a art student, that my way to look things was similar to seeing thru a macro lens on a camera. This way led me to understand what was important and essential: lines, colors, forms, movement.
In this process we make a deconstruction, analysis and re-make and my re-make tries to be on the essential.
The aesthetic side of image is very important to me.
So I use forms lines, colors and movement to “make emotion” and to have an emotional response from the viewers.
I don’t want them indifferent.
When I began to work with moving image, I had done already a route in the field of abstraction, following a road type, we can say that is a – writing. It will be impossible to me to do it in a figurative way!! — that is not my way of thinking and looking to the world !!
My creative process as been changing during these more than thirty years of production.
We have to adapt the creative process also to the technique and materials we are working on. I should say, that materials and techniques imposed themselves, so that we had to think differently.
Concerning to the moving image I usually have an idea of subject-concept that I want to develop, but I have to feel that it is a GOOD idea.
It also happens that the subject, like “landscape”, arrives from itself, imposing itself from a research process from another concept – that of film.
Landscape in my artist practice never interested me! But following this imposition, seems to me very appropriate.
The link between a classical theme, and a very innovating way of generating image, throughout this new experimental software – is a contemporary way of seeing and a new look to classical themes, like landscapes or still life ( I am currently working on).
As understood I usually let me go, I follow the work – I am very open to the new possibilities of experimentation and to the new possibilities that are generate in the making off process, The creative process is full of unpredictability, and as an artist I try to be open, and alert to what is happening all during the process, in order to cease a possibility if it happens!
So no storyboard that killed all experimentation.
I go to a new film with an idea and all the rest will happen.
My dark screen is my white canvas where I make my discoveries.
Another Experiment by Women Film Festival promotes and screens moving images in any media, made by women, that encourage critical thinking and dialogue.
News & Screenings:
- Berger Nissen (Expanded Cinema Performance) June 13
- Olivia Ciummo & Tara Merenda Nelson in PSYCHIC PANIC
- underground film journal (dot) com
- Issue #2 NON/FICTIONS ISSUE of CANYON CINEMAGAZINE, featurCANYON CINEMAGAZINE’s article on AXW Panel Discussion by COURTNEY FELLON
- CLAUDIA SIEFEN’s film – BEEN WAITING FOR YOU SO LONG- at M°BA CENTRAAL from June 9 – July 21, 2013
- 12/7/12 – AMERICAN DREAMS / NIGHTMARES curated by Noe Kidder
- 12/ 8 /12- JOEY HUERTAS AKA JANE PUBLIC AND SUZANA STANKOVIC at Mono No Aware
- 12/13, 14,15 – Lynne Sachs’ “Your Day is My Night”