In dialogue with a natural phenomenon,
by Jólan van der Wiel
The Gravity Stool thanks its unique shape to the cooperation between magnetic fields and the power of gravity.
Departing from the idea that everything is influenced by gravitation, a force that has a strongly shaping effect, Jólan intended to manipulate this natural phenomenon by exploiting its own power: magnetism. The positioning of the magnetic fields in the machine, opposing each other, has largely determined the final shape of the Gravity Stool.
It is the combination of the magnet machine with the plastic material, developed especially for this purpose, that enabled Jólan to start a small but efficient chain of production. The forms and products are characterized by the freakisch and organic shapes that are so typical of nature itself.
An interactive media installation created in collaboration with Mike Allison. A stretched sheet of spandex acts as a membrane interface sensitive to depth that people can push into and create fire-like visuals and expressively play music. More information available at: aaron-sherwood.com/works/firewall Will be used in the performance piece Mizaru created with Kiori Kawai: purringt.com/mizaru
This video was made to promote the release of Mr Scruff's Ninja Tuna album.
Director: Jim Dawson
Producers: Jim Dawson and Andy Carthy
Animation and Camera: Alex Hindle, Annie Gibson, Jim Dawson.
Edit: Jim Dawson and Andy Carthy
Fruit Operators: Andy Carthy, Annie Gibson, Alex Hindle and Jim Dawson.
Fruit Faces: Andy Carthy
Client: Ninja Tune
You can imagine how much fun we had making this in stockport and manchester.
This January I had the privilege of traveling to Israel with Rick Larson, whom I filmed the The Star of Bethlehem with (vidano.com/work/star-of-bethlehem). He's been up to "no good" again and asked me to direct a new project with him involving geophysical mysteries this time. (I can't keep up with that guy.) Rick and a team of us were on the ground filming for 4 days.
It was a rainy Saturday afternoon and Jerusalem was completely socked-in. Just over the horizon I could hear the helicopter blades. I must admit I was a little hesitant. The day before we had filmed at the Dead Sea and today we planned on filming aerial footage of the coast and flood zones.
It goes with out saying; helicopters aren't cheap. And I did not want this to be a wasted trip that produced flat, dark, cloudy landscapes.
As we took off and flew over Jerusalem the wind cut through the door-less Robinson R44 Raven helicopter. What emerged 15 minutes later was nothing short of breathtaking. Shafts of light rained down upon a desert wonderland. Dramatic. Dark aqua water. White salt encrusted coast lines. Deep flood eroded chasms.
Our expedition to the Dead Sea was unforgettable.
Shot on a Canon 7D at 60fps from a gyro-mount tripod.