"A short CG [computer graphics] film featuring the Palissade collection designed by
Ronan and Erwan Bouroullec.
Following the collection throughout a day inside an imaginary space as they are brought to life by light and shadow."
Music and Sound Design Hector Ruiz
Visit Playing In The Shadows
Listed in category: Audiovisual
by Laurie Rowan
Animation, design and direction: Laurie Rowan
Director of photography: Helen Plumb
3d tracking: Matt Simkins
Music: Ed Briggs
Art Director: Connor Campbell
Project Manager: Rob Mordue
".... [part of] a series of three films which peer inside the walls of three of Britain’s best-loved cultural institutions to turn all your expectations about art galleries upside down.
Visit Ways of Seeing
"“As We Are” is a fourteen-foot, 3-D universal human head made from ribbons of ultra-bright, LED screens. In the back of the neck is a photo booth capable of taking 3D pictures. Once a visitor has their picture taken, they step out of the booth and their head is displayed on the giant head.
The sculpture addresses the relationship between self and representation of self, asking the subject of the portrait to reconsider presence through magnification. It is intended to provide amusement and evoke larger discussions around the phenomena of social media, diversity, and the power dynamic of public art ...."
Visit As We Are
A short film where Lil Buck dances us through a tour of the Shchukin collection at Fondation Louis Vuitton.
Featuring: Lil Buck
Director: Andrew Margetson
Director of photography: Martin de Chabaneix
Editor: David Webb
Music: Evgueni & Sacha Galperine
Executive producers: Marieke Tricoire, Christelle Tastet
Visit Lil Buck with Icons of Modern Art
Listed in category: Body
"Constantly feeling rushed. Habitually saying ‘too busy’ or ‘quickly’. Always apprehensive that things might not be done in time. The desire to act quickly is basically a matter of speed. Elevation of speed requires reduction of time. The most economical way for this formula is a straight line. Connecting two points; starting and ending point, without a gap. People, consumed by the aim to reach the ending point, proceed rectilinearly. The space in between is merely a path leading to the ending point, and nothing more. This interspace has been omitted due to the rectilinear motion between the two points. Could people be liberated from the obsession of unidirectional movement and speed, if a new perspective is formed by visually converting the direction of spaces with intense unidirectional propensity?
Walls, doors and passageways that can involve the audience are installed in the interaction version. An image is projected onto the wall. It starts from the z-axis, consistent with the direction of the person advancing through the door. The image is composed of one-point perspective spaces and situations with intense unidirectional propensity. When the person proceeds in the intended direction, the sensor perceives the movement and the projected image revolves to the x-axis perspective. The image has a flat layout, lacking space perception. With the movement of people as the variable, the image portrays different spaces revolving on their axises.
In the animation version, symbolizes the interspace. Generally, fish are recognized from its profiles. It is more natural to visualize fish moving in the intersectional direction of people’s line of sight. While we constantly move rectilinearly, the space from the side; the interspace, could inhabit naturally travelling sideways."