Fullscreen and volume up, please! ;-)
A short movie inspired on Escher's works and a free vision on how it could be his workplace.
— 3D animation by Cristóbal Vila · More info about this movie: etereaestudios.com
— Music theme “Lost Song” by Ólafur Arnalds: olafurarnalds.com
Per la prima volta, un writer italiano Peeta e uno studio di visual design Apparati Effimeri collaborano alla realizzazione di un progetto di mappatura stereoscopica che unisce gli approcci personali al linguaggio del 3D. L'Ecrit Animé è il risultato di questa ricerca, ma è anche un work in progress, in quanto i due team creativi intendono proseguire la collaborazione artistica.
I primi esperimenti sono stati presentati in occasione del Toolkit Festival 2012 presso la AR EVE: AV spazio a Forte Marghera, Venezia.
Gli spettatori, muniti di occhialini 3D, erano immersi in un iperspazio a più dimensioni. L'immagine dipinta di Peeta si combinava con quella virtuale realizzata da Apparati Effimeri, creando un'illusione emozionante e sorprendente.
For the first time, an Italian writer Peeta and a study of visual design Apparati Effimeri collaborate to provide a stereoscopic mapping project that combines the individualized approaches to the language of 3D. The Ecrit Animé is the result of this research but is also a work in progress, as the two creative teams,they want to continue the artistic collaboration.
The first experiments were presented at the 2012 Festival at the AR Toolkit EVE: AV space Forte Marghera, Venice.
The spectators, furnished with 3D glasses, were immersed in a multi-dimensional hyperspace. The picture painted Peeta was combined with the virtual one created by Apparati Effimeri, creating an illusion exciting and surprising.
Germany / South Korea 2011
film starts 1:30
Seoul seems to be a glowing, crystal-like urban canyon, each chasm illuminated and infinitely reflected in flat facets of glass. The film shows abstract formations that are scraped and cut out of the missing darkness of the city. They reveal a light volume overcoming the flatness of the façade by breaking into the space from the front or dissolving it from behind.
In its slowly evolving, almost biological structures the work is reminiscent of deep-sea creatures. These complex life forms try to attract their prey with emission of light, so-called bioluminescence. In this case the “prey” is the potential audience, who nearly lose sight of the nearby billboards and city lights as they follow a hypnotic contrast to the pulsating city life of Seoul.
scrape uses a colour palette of warm shades of blue, red and green which originate from the defined raster of neutral light sources of the media canvas. The moving afterimages painted in pure light extend over the orthogonal framework of the façade, providing a view into a stream of forms and colours. Voluminous black spaces divide and separate the scene into ever-changing ambiguous sculptural formations. With their constant process of growth and decay into darkness they seem to exist in the flat surface and the spatial depth at the same time.
Overall the film maps the fluid dynamics of the inner forces of an organic structure, recapturing and quieting a world agitated by technology.