When I was away, I took the time to seek out some air drying modelling clay and actually allow myself to have an unadulterated play. No sketches, no preconceptions, no over thinking... it was just a matter of grabbing a chunk of goo and seeing what happened (although somehow, I think I may have been channelling 'The Lost Thing', or maybe Benconservato!). I haven't done this for such a long time, and it was so damn enjoyable. They were made quite quickly, detailed with a bit of yellow water colour, and then placed out in public (in corners, on stairs, on shelves). To my delight, they all disappeared. I saw one guy pick one up, check to see no-one was looking, then pop it in his pocket. A perfect outcome!
Most splendid greetings! It has been such a long time, so it’s great to be back. I’ve recently returned from a trip overseas where I presented two Australian animation programs at OFAFA in Krakow, Poland. The festival principally screens Polish animation, but has slowly been branching out to include a number of highlight sessions from different countries/festivals in its programming. Contemporary Polish animation is absolutely flourishing after what has been difficult times, so we’re thrilled to be screening 2-3 focus programs in MIAF this year.
On my way back to Australia, I spent a few days in London. Due to exceptional timing, my colleague from LIAF invited me to attend a Women in Film and TV panel discussion with three uber talented animators/directors currently working in the UK – Suzanne Deakin, Elizabeth Hobbs and Magdalena Osinska (now working at Aardman). The session made me realise how irregularly these type of events are held - straight forward Q&As with creatives simply chatting about their processes, influences, techniques, work spaces, families, beginnings etc. Wonderfully honest and enlightening stuff. It reminded me of being back in uni, and got me thinking about what could be organised here in Melbourne.
A screening of everyone’s work preceded the talks, and it was just so good to be reminded how brilliant they all are. But for me personally, it was the joy of seeing Elizabeth’s outstanding work, one after another on a big screen – a pure treat. Lithe brush strokes and dobs, rich in pigment, bead and ensue – while intelligent writing and stunning narration – most often by Liz herself - draw us deep into her watery world. It’s unfortunately just not possible to appreciate her fluid textures on the internet.
She described her studio - a spare bathroom where she works over the bath itself – the image was so compelling in my mind that it’s made me seriously review the excuses I make regarding the shortcomings of my own work space! Time to make better use of what I have.
> Liz's website, her YouTube page, her fabulous blog: news from the bog
> Suzanne's work profiled on Slinky Pic's website
> Magdalena's work on Vimeo
