A man in a room, in a film – it is the becoming of something and simultaneously becoming in itself. Nothing is as solid as we believe... The film explores our perception of time, bodies and objects, and our inability to comprehend the full motion of things.

Graduation Film, Royal College of Art, 2019

Everything around us, including our bodies and our 'self' is constantly moving, changing and transforming, and yet we can only comprehend time by dividing it up into static differences, only making the before and after visible. The complete flow of transitions remains incomprehensible to us.
Animation as a medium is the perfect tool to explore such philosophical ideas about time, movement and change. Since it is based on making static differences move, it highlights how only with a change happening on each frame, we begin to perceive movement, yet each frame remains invisible to our eye. The film is a visual and conceptual journey, where time and movement become, alongside with the image itself, just another coordinate to abstract and experiment with. The room, the man, the film - everything moves and becomes more and more one moving entity until it dissolves and deconstructs completely.
Current festival selections/ screening venues:
Flatpack Film Festival 2020,  1-17 May (Online)
Monstra Animation Festival 2020, 1-7 June (Online)
Annecy 2020, 15-30 June (Online)
Palm Springs Shortfest, 17 June (Online)

Animator (Animator Unscreened) 2020, 10 July
Rhode Island International Film Festival 2020 (Online), 4-9 August
Animation Block Party Film Festival 2020 (Online), 22-23 August

Fest Anca 2020, 27-30 August
Cardiff Animation Festival 2020 (Online), 27 August
Anifilm 2020, 6-11 October

Film stills
The film was created using different materials at different moments in time of the film.
At the beginning, everything is very still, dry and solid - paint on paper.
Then things begin to move, transform and deconstruct, it becomes more fluid and wet - paint on cell.
Sometimes the film's content mirrored the film's process, with the layout of sheets (4 frames per sheet) becoming the content of the film.
There was a strict, underlying structure that helped to figure out when and how much to deconsruct the film - either through the image, through it's material, or through time, and many variables existed at once.
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