eb hu: lucky.

I’m like a kid in a candy store today. Scanning through my usual go-to sites is turning up a treasure trove of new work from some of my favourite directors from right before the holidays.

I’m going to start sounding really superlative, but after Robert Seidel’s “_Grau” yesterday, here we have another work from the creator of one of my favourite pieces of motion design ever. Works like these are the reasons I started blogging, so this is emotional stuff for me here.

I first discovered director and animator EB Hu with his breathtaking “Josie’s Lalaland.” Quite simply, it’s one of the most simple, sincere, and exquisite works of art I’ve ever seen.

Like “Josie’s Lalaland”, “Lucky” is noble and compassionate. Hu is not afraid to confront our fears, demons, and ugliest deeds, but does so in such a delicate but impacting way. Clean lines, emotive visuals, sharp edges, and everything in perfect balance to let the emotion of what we’re seeing take focus. It’s the vigour of his subtle touch that strikes me. His work compels us, in dignified and glorious tones, to remember that all life is to be cherished, and, without scolding, reminds us that it is our own lives that are without value if we allow ourselves to forget this.

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And if, for some reason, though I can’t imagine what it would be, you didn’t click on “Josie’s Lalaland” earlier, here it is as well, because it’s simply too beautiful for you to not see. I will not forgive myself if you don’t watch this video, right here, right now.

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Via Motionographer

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robert seidel: _grau hd.

Prepare to have your mind blown. I couldn’t be any more thrilled about this. My first post of 2010 kicks off the year in epic style with the HD re-release of Robert Seidel’s 2004 masterpiece “_Grau.”

Seidel is one of my absolute favourite digital artists in the entire world. I’ve posted before, with my adoration, about his groundbreaking video for Zero 7’s “Futures”, his amazing large-scale outdoor projection “Processes: Living Paintings”, and his gorgeous video installation “Vellum.”

Posted publicly for the first time in HD, “_Grau” has only been seen before at this level of quality and detail at galleries and festivals. To me it’s a trailblazing work, that perfectly personifies Seidel’s digital/organic style clash and attention to detail that first made me fall in love with his work.

Seidel describes it himself as “… a personal reflection on memories coming up during a car accident, where past events emerge, fuse, erode and finally vanish ethereally… various real sources were distorted, filtered and fitted into a sculptural structure to create not a plain abstract, but a very private snapshot of a whole life within its last seconds…”

“Grau” roughly translates into English as “greyish – an achromatic color of any lightness between the extremes of black and white.” Here we have Seidel’s vision of the human spirit in limbo, not between extremes of the afterlife but the unknown moment between life and death. In it he structures the human soul into the most beautiful and terrifying embodiments of its own emotions: prismatic light, splintering bone, gnarled despair, silent torrents of hope, and silky liquid lightness that fades away within itself. It magnifies all of our greatest fears and yearnings and is something I’ve never forgotten. Seeing it again now, in its intended detail and nuance, is nothing less than incredible.

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Via Motionographer.

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selfburning: field.

An intense and amazing experimental short from Russian animation and experimental motion team Selfburning.

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etsuko ichikawa: traces of the molten state.

To create her works, which she calls glass pyrographs, Tokyo-born, Seattle-based artist Etsuko Ichikawa trails streams of molten glass, Jackson Pollock-like, across paper.

The resulting tendrils of ash, lacy yet fire-scarred, are both jagged and flowing. Like lightning piercing a very dry forest,  the organic reaction between fire, air, and earth is elemental. Cycles of existence tracing each other – both earth that grew wood to become paper and earth that was hewn into sand and then melted into glass. It’s a molecular home-coming; the lost long relatives of stone and arbour reunited, lifetimes later, evolved into higher states, through fire.

The resulting burnt etches, smoky (literally) and lithe, are described by Ichikawa as a “continuing investigation of what lies between the ephemeral and the eternal.”

Via Today and Tomorrow

lucy mcrae + mandy smith: chlorophyll skin.

Exploring the evolutionary and mutational possibilities when converging art, science, and the human body, I’ve been a huge fan of the body dysmophic works of Lucy McRae and Bart Hess for quite a while now. See past posts here and here.


For an installation at Amsterdam Fashion Week in July, McRae teamed up with Mandy Smith to create “Chlorophyll Skin”, an “experimentation into color, movement, absorption and the body.” The results are eerie; reptilian yet human, familiar yet alien, chromatic yet a little grotesque.

It doesn’t hurt that they’ve set it to Fever Ray’s “When I Grow Up”, a sensational song with an equally sensational video.

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siggi eggertson + lawrence cepstral: supernova.

Siggi Eggertson kicks some serious ass.

This is pretty high up on the trip-out scale. Sort of like listening to an Autobot/God hybird fill you in on all the celestial happenings you’ve missed out on… at a trance rave. Like I said… trippy.

Created by Siggi Eggertson for Lawrence Cepstral’s “Supernova.”

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Via Motionographer

efterklang + sam moppett: this way back.

There is something so unabashedly home-made about this that I find it fascinating. Plus, it involves dinosaurs. And dinosaurs, as we all know, are automatic win.

Created by artist Sam Moppett with soundtrack from Danish experimental pop outfit Efterklang.

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marilyn minter: green pink caviar.

Get ready for a boundary push with the slimy, erotic, gooey, gorgeous trailer for Marilyn Minter’s “Green Pink Caviar.” Like The Village Voice said about her earlier this month: “When the artist Marilyn Minter—whose work is often described as pornographic—puts in an order for long-tongued models, you know she’s up to something good.

From Minter’s website: “Co-opting advertising genres and related spaces, she takes a new platform to direct her first video. The eight minute high definition video, Green Pink Caviar (2009) is a lush and sensual voyeuristic hallucination. Filmed with macro lenses, she captures the most minute movements of female mouths licking candy and cake decoration. Driven by her fascination with the body, Minter’s film sets the stage for chance to happen.”

abstract:groove: building urban motion.

Milanese design and production shop abstract:groove created this amazing temporary outdoor video installation on the side of  of the Hotel St. George, in Viale Tunisia, Milan.

Described by the creators as “an audiovisual experiment of perceptive transformation in architecture, through abstract narration, which will show the building as a screen and protagonist simultaneously. Imagine the façade of a building could have a brain and a conscience; consequently it could sleep and dream. Imagine that these surreal forms of life have a characteristic to let loose, during the REM sleep period, a visible transposition of their dreams.”

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Via No Fat Clips!

great works + pedro marín: el día después en teletexto.

This is totally in the rad, pixellated vein of two of amazing Toronto artists Superbrothers. Claiming (and I’m believing them) to be the world’s first video ever shown in Teletext, Great Works created this viral vid for Pedro Marín’s “El Día Después” from his soon to be released “I Will Glam.” It’s a shining example of how simplicity can be made beautifully complex.

I’ve never heard of him, but apparently Marín was a big glam pop star in Spain in the 80s. To fuel his comeback (I guess he’s riding that whole pop revival gravy train) they created his first vid in Teletext – a technology that was introduced the same time as glam rock, which Marín’s claims as his biggest musical influence. It played on Spain’s Channel Four throughout May. Pretty rad.

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Via Today and Tomorrow