Skip to main content

Enchanted Forest - Animated Wallpaper Installation

Enchanted Forest
What a really interesting project - An animated wallpaper installation.
A collaboration between surface designer Natasha Lawless and Antivj label visual artist Joanie Lemercier.

View on Vimeo

The Enchanted Forest from Natasha Lawless Design on Vimeo.

Information from website:

"This is a prototype for an animated wallpaper installation as part of Natasha's ongoing 'Captivate Project' in collaboration with Joanie Lemercier. The piece is inspired by Natasha's favourite Grimm’s fairy tale, ‘The shoes that were danced into holes’ which tells the tale of twelve sisters who descend each night to the underworld, to dance amongst avenues of trees with silver, gold and diamond leaves. 

Designed as a full four-way repeat and intended for a large scale setting, 'The Enchanted Forest' captivates the viewer, creating a meditative atmosphere, as the forest of diamond leaves lights up, as if by magic. The work is a dialogue between illusion and reality. It plays between the seemingly ordinary existence of a printed wallpaper and the sense of magic created when it is brought to life with projection, where the viewer is invited into a real-life fairy tale.

The project is currently open for commission for both commercial and domestic settings."


Link to info about the project:
http://natashalawless.co.uk/#1371476/the-enchanted-forest
http://joanielemercier.com/post/14832349221/natashalawlessdesign-finally-the-video-is-now





Comments

Popular posts from this blog

Reading Noël Burch Theory of Film Practice - Ch 1

Gathering together examples referenced in Noël Burch's Theory of Film Practice, chapter 1



The most profound aspect of this chapter for me is near the end when Burch urges for filmmakers to:

"develop new "open" forms that will have more in common with the formal strategies of post-Debussyian music than with those of the pre-Joycean novel."

Burch discusses the potential for a third meaning (beyond shooting script and technical plan ) for découpage  


" no longer referring to a process taking place before filming or to a particular technical operation but, rather, to the underlying structure of the finished film.  Formally, a film consists of a succession of fragments excerpted from a spatial and temporal continuum.Découpage in its third French meaning refers to what results when the spatial fragments, or, more accurately, the succession of spatial fragments excerpted in the shooting process, converge with the temporal fragments whose duration may be roughly de…

Futurism – Movement and Sensation

FUTURISM - MOVEMENT AND SENSATION
by Maura McDonnell

Futurism praised and glorified the energy, speed and danger of machines in art.  The futurists had disgust for and rebelled against the 'relics of the past' (interestingly these relics in museums were ok for the old, the disabled and prisoners - people with no future?).  The new beauty was not the old art of the past, such as the sculptor piece 'Victory of Samothrace', but the beauty of speed.


How was something so ephemeral and invisible to the eye as speed to be rendered in painting?
Something invisible but felt?

In the two painting manifestos and in particular the Technical Manifesto of Futurist Painting, added to the futurist list of statements is the celebration of science - 'victorious science'.  Science could reveal what was hidden in nature and to our vision, x-rays had penetrated the 'opacity' and materiality of the body.  Chronophotography and the time-lapse photography of Eadweard Muybridge

Reading Noël Burch Theory of Film Practice - Ch 2

Chapter 2 - Nana, or the Two Kinds of Space



EXAMPLES  discussed by Burch in this chapter

Jean Renoir - Nana (1926) - excerpt


Ewald Andre Dupont - Variety (1925)
Extensive use of off-screen space
Excerpt below


Excellent video essay available on youtube by Kristin Thompson
http://youtu.be/X4Tov1vgoVI
Excellent article at:
http://alsolikelife.com/shooting/2008/12/739-80-variete-aka-variety-aka-vaudeville-1925-ea-dupont/

Full film
(at around 67 minutes the fight and knife scene)
The film is famous for its extensive use of off-screen space.  Burch discusses the particular scene.
"Because during a fight scene that soon became famous, Emil Jannings and his rival roll on the ground, leaving the screen momentarily empty. A hand with a knife in it then enters the frame from below and immediately plunges out of frame again to deliver the fatal blow. Jannings then rises up and into frame all by himself . . . and several generations of film historians applauded this "magnificent understateme…