Day 1 > István Horkay

The Lord’s Prayer – TRT 5:04 mins

“The Lord’s Prayer”
Music by Shiri Malckin from Israel
Lyrics and voice by Nina Maroccolo from Italy
Video art by István Horkay from Hungary

Horkay’s art is epitomic in the double meaning of the word: a fragment, an incised part of something already in existence, and – just because of this incision – is an injury to the finished surface, to the tangle of writing or a finished picture. This relies on the experience that man, handing himself down through signs, simulates a kind of sense-wholeness. In these series this textual sense-wholeness appears to be ever different as different colors enter the surface at different sites. It is the same and not the same at the same time. “Once the signs are scars, then the wounds will tell tales of some non-alleviated history” (D. Kamper – Zur Soziologie der Imagination Hanser V. 1986. p. 148).

The sign will temporarily closen over the story. Who else would know this better than Freud, who, after the neurological-physiological and neuropsychical phases, so deeply doubted that it was possible “to bring to light the hidden content in its wholeness” (Konstruktionen in der Analyse 1937. in: Stud. Ausgabe Ergb. Fischer V. 1982. p. 398).

István Horkay (b. December 25, 1945 Budapest) is a Hungarian painter. After graduating from the School of Fine Arts in Budapest in 1964, Horkay was invited to attend the Academy of Fine Arts in Cracow -Poland, one of the Major Art and Cultural Centers of Eastern Europe, where he received his Master of Fine Arts. He continued his Studies at the Royal Academy of Art in Copenhagen, Denmark. (1968) and did additional Post graduate work at the Academy of Fine Arts in Budapest. (1971) Horkay studied under the Internationally known Artist and Theater Director Tadeusz Kantor as well as Professors M. Wejman and J. Nowosielski. Palle Nielsen/Danmark/ He received Diplomas in Graphic Arts, Painting, and Film Animation.

Day 2 > Lynn Dana Wilton

“(Re)Cycle” – TRT 1:50 mins

Toronto Animated Image Society (TAIS) put out a Request for Proposal regarding the 2011 Nuit Blanche festival with the theme of “The Elements”. Half a dozen experimental shorts would run on the One Stop Media Network’s TTC subway monitors (in association with Art 4 Commuters, The Ontario Arts Council, and The Toronto Arts Council) through the night, though, necessarily, silent and in a very narrow aspect ratio.

“(Re)Cycle” (now in a more standard aspect ratio w/sound) strove to draw attention to our dependency on the connections between the elements in our world by integrating them into BOTH the content and the media choices.

* * *

FIRE (and life) begins with a lightning strike then bubbling magma at the centre of the Earth told through scratching 35 mm film. Light from our modern “captured-fire” (electricity) shines through to illuminate the magma tunneling upwards through the …

EARTH. Under-lit sand animation shows us the layers of the mantle. Fossils (actual & sculpted) are passed, pressure building to a volcanic eruption of ash into the …

AIR where the ash cloud dissipates into steam portrayed by sifted sugar then blown clear. The wind stirs a maple tree, taking the keys (collected after “helicopter-ing” down) through the sky where seagulls pass on their way to the seaside. When the gulls target a school of flying fish skimming by, they dive to take us under the …

WATER. Lubricant splashes and we enter a world populated by watercolour paper puppets carrying us deeper. When a passing whale’s tail stirs up a phosphorescent wake, in the return to scratch-on-film, we see the mysterious lights of the deep ocean where life began.

We’ve returned to the strange and unpredictable fires of the Earth’s core.

* * *

It’s my hope that, by illustrating the ways in which all of life is connected in our world, we will be more greatly inspired to protect it and think twice about what we throw into the mix.

Lynn Dana Wilton is an animating Jill-of-all-trades who trained in classical at Sheridan College, has worked commercially in stop-motion (mostly television series & specials), and likes experimental techniques (frequently with TAIS, the Toronto Animated Image Society). “(Re)Cycle” has screened at: International Short Film Festival (Mauritius) 2014, CNE (Canadian National Exhibition) w/TAIS (Toronto, Canada) 2014, Dawson City International Short Film Festival (Yukon, Canada) w/TAIS 2014, Shuto Con “Women In Animation – The Short Films” (Michigan, U.S.A.) 2014, ICE (Improvisational Concert Ensemble) w/soundtrack improvised live (Waterloo, Canada) 2013, Filmo Corto Festival (Lima, Peru) w/TAIS 2013, Reel Earth Environmental Film Festival (Palmerston North, New Zealand) 2013, Halifax Independent Film Festival (Halifax, Canada) w/TAIS 2013, Byron Bay International Film Festival (Byron Bay, Australia) 2013, Animation With Love 3/Carbon Arc (Halifax), SoDak Animation Festival (Brookings, South Dakota, U.S.A.), NSI Online Film Festival (Canada), TAAFI – Toronto Animated Arts Festival International (Toronto), TAIS International Showcase 2012 – Toronto Animated Image Society (Toronto) and (silent, alternate aspect ratio) Nuit Blanche Festival 2011 (Toronto).

Day 3 > Dael Oates

Maintenance – TRT 9:24 mins

Maintenance is exploration into the power of memory. I wanted to create a film that could be both a poetic narrative piece as well as conceptual art. I filmed in my Grandparents home, just after they passed away and it was left exactly the way I remember it as a little boy.

Cathleen, my grandmother, loved this house. She loved her garden. She loved the flowers and the trees. She loved the grass and the number 62 on the mail box, the dripping taps and weeds that grew in the cement path. She loved to keep everything, even if something were broken it was never thrown away. Maybe it could be useful, she would tell me.

She loved Adam, my grandfather. And he loved her too. He loved his shed. Full of tools and pieces of metal and wood. I was always told he could make or fix anything. He makes the nuts and bolts to hold it together my Dad would say.

He played the trumpet. He was a Mason. I asked him to show me the secret handshake, but he never did.

They had a pet kangaroo and a cat named Smokey.

That clothesline was of another era my Dad would say.

When they passed away the house was going to be sold. The family needed to clean it up, go through everything they kept close, everything they left behind. I could feel the memories. Like they were trapped inside and attached to all the little things in there.

I realized memories have place. They stay where they are created as long as there is someone to maintain them.

Dael Oates is a Australian film maker, living in Brooklyn with him family including a 3 year old girl and 16month identical twin boys. With a background in both photography and design Dael is a self taught film maker. His career began at Oscar winning VFX and 3d animation studio Animal Logic. Here the exposure to a gamut of creative projects from visual FX design to art direction to story and script development created a path to Directing. He has won a number of awards of his work including the Kodak Young Directors Award. Dael’s work spans many disciplines and genres. With a toolkit of motion graphics design, stop motion animation, photography, visual FX, Dael’s multi disciplinary approach to his film making creates a unique lens to how we can experience storytelling.

Day 4 > Gioacchino Petronicce

PICTURES – TRT 2:42 mins

Made only with pictures and Love. “Pictures” Speaks about photography and photographer. Here, the photographer is moving in the space to discover a particular event. When he find it he just push the button and… click ! I tried on this experiment to describe my vision about “how can I make a photography ?” This is like a game with the time, acceleration, break and restart.

“Pictures” has been created from 80 000 pictures shot this last 3 years in various city (Paris, Barcelona, Hossegor, Venezia, Toulouse, Martinique, New York City, Montpellier, etc.) Edited with Lightroom 4, Quick Time pro 7, Final Cut Pro 7 and Pro tools 9. Camera : 5D mark III and 7D (Jpeg and raw) Lenses : Tokina 11-16mm, Canon 35mm L, Zeiss 50mm 1.4, Canon 50mm 1.4, Canon 100mm 2.8, Samyang 85mm 1.4, Lens baby, Canon 15-85mm. ”

Born in February 1985, Gioacchino Petronicce started to study psychology and philosophy at the university in Toulouse and later integrated the ESAV (Superior School of Broadcast) from October 2008 to June 2012. There he studied film direction with a specialization in Sound. He is interested in experimental and ambient atmosphere.

He began to work as a director in 2012. After several short films he created on his own, he collaborated on his first commercial in 2012. In May 2013, he directed with success the short film Whisper for the promotion of the YDA festival (Young Director Award), where he was in competition in the Video Art category for his film Game Over. He is currently working on his first feature film.

Gioacchino Petronicce – Toulouse, Paris France

Day 5 > Jordan Bruner

The Leaf Woman & the Centaur – TRT 3:11 mins

Film by Jordan Bruner
Sound by Future Perfect

The Leaf Woman and the Centaur is a stop-motion animated film that looks to reconcile a set of creation myths and re- establish the act of experiencing the story as their central component. In the same way Paradise Lost articulated the felix culpa (beneficial fall of man) within the Biblical beginnings, or Dante’s Inferno explored our ethical and spiritual scaffolding, The Leaf Woman and the Centaur will use the same basic tropes present in every creation myth to emphasize the value of an ancient experience that died with the cold logic of words.

This is the first episode.

Jordan Bruner is a Brooklyn based director and artist. Mythology, travel, and surprising narratives make Jordan’s work unique, while her illustration style gives her commercials, music videos, and short films a strong sense of voice. Jordan has worked with clients including Linda McCartney Foods, Friskies, and Etsy, and collaborated with bands ranging from the Mountain Goats to Paramore. She has shown her short films in festivals all around the world and in 2013 she was named an ADC Young Gun. In amongst creating 2D and Stop Frame animations, Jordan finds time to paint, collect hologram paintings, and play the stylophone.

Day 6 > Cynthia Atkins & Nic Sebastian

Screen Shot 2014-08-04 at 6.23.11 PM
Family Therapy – TRT 2:22 mins

A large part of my focus at the moment is generating video remixes from the repository of poems available for creative remix at The Poetry Storehouse. As a remixer, I try to capture, in concrete audio-visual form, the answers to basic questions I have about a poem: “How did this poem make me feel, what did it make me think, what did it show me?” So that the viewer/listener of the remix receives a fused creative perspective, a synthesis resulting from the encounter between the poet’s words and the remixer’s experience. For this video, I worked with a marvelous piece by poet Cynthia Atkins on inherited mental health issues.

Nic Sebastian
Poet, voice artist and film-maker, Nic Sebastian is the author of ‘Forever Will End On Thursday’ and ‘Dark and Like A Web’. She is co-founder and curator of The Poetry Storehouse, a website which showcases ‘great contemporary poems for creative remix’, and she makes poetry videos as part of that project. Nic blogs at Very Like A Whale and was the voice and founder of the now-archived audio poetry site, Whale Sound.

Cynthia Atkins
Cynthia Atkins’ poems have appeared or are forthcoming in Alaska Quarterly Review, American Letters & Commentary, BigCityLit, BOMB, Caketrain,,Clementine, Del Sol Review, Denver Quarterly, Harpur Palate, Inertia, The Journal, North American Review, Sou’wester, Tampa Review, Valparaiso Review, and Verse Daily among others. Her second collection, “In The Event of Full Disclosure” was recently featured on the Huffington Post and the Bill and Dave Cocktail Hour, and reviewed in [PANK] and the North American Review. She earned her MFA from Columbia University’s School of the Arts and holds residencies from the VCCA and Breadloaf Writer’s Conference and currently is an assistant professor of English at Virginia Western Community College, and lives in Rockbridge County, VA on the Maury River with her family.

Day 7 > Samantha Gurry

Montag // There is a Voice – TRT 3:18 mins

The world thru a keyhole and two steps back in line at the bank. In my work I use various methods and media to convey my thoughts on popular culture, sexuality, gender roles, outer space and how we relate to one another. I am constantly picking objects off the ground and out of the trash. Organizing what we fetishize and separate from, like family photos, letters and well-worn remote controls.

Collage enables me to use all I accumulate and work thru what we throw away. Using disparate filmmaking techniques, including stop motion, found footage, live action and video manip, I’m able to reflect my collage style in motion as well as static art.

Right now, I am especially concerned with young women on the cusp of Motherhood. I’m from a traditional Italian-American Family. The pressure to raise a family is still strong. Looking at the women around me I wonder when will they become a moral dial for another person. When do these rad women put down the blunts and pick up breast pumps?

Samantha Gurry (BFA, University of the Arts) lives and works in Philadelphia, PA, just enough outside of New Jersey to count as leaving. She works outside of her home studio with her partner and cat. She works with film, animation and digital media.

Samantha’s work has screened internationally at Ottawa International Animation Festival, SXSW(Austin, Texas), Sydney Underground Film Fest, Melbourne International Film Fest, AXWFF(New York, NY), Fest Anca(Žilina, Slovakia), and more. Her music video, “[bleu] // l’apparition de courbes aurorales”, took the Audience Choice Award in the Free Radicals category at the Sydney Underground Film Festival(2013). She was recently invited to participate in ASIFA-East’s Women in Stop Motion Animation panel at SVA. Her work was also displayed at the Plunk Shop in Upstate NY for their ‘Chuck’ show.

When not working with moving images, she creates assemblage collage, psych music, and goes through people’s trash.

Day 8 > Adam Patch

Two Chips – TRT 1:44 mins

Two Chips is a deep and philosophical journey that touches on post modernism and the existence of multiple universes. Actually, it’s just a stupid joke that the filmmaker’s wife made up one night after she was drunk on wine. Director and Animator Adam Patch happened to record the wittiness and later created an animation to bring the tale to life.

Adam Patch is a Commercial Director working mostly in states that start with the letter C- mainly California and Colorado. Adam attended film school in LA, followed by the Academy of Art University in SF, where he studied motion picture directing. A self-taught Designer / Animator, he began doing motion graphics, design, and editing for some of the top advertising agencies in San Francisco, including Goodby Silverstein & Partners, Mekanism, Attik, and Eleven. Eventually, he switched to the director’s chair, building a portfolio of work for such clients as Apple, Google, Oracle, HP, Twitter, and Paypal. He’s also an award-winner, having earned himself an Emmy, and multiple Telly awards. He currently lives in Denver, Colorado with his drunk wife Morgan, and his drunker dog Eliot.

Day 9 > Constantinos Chaidalis

Sophomore – TRT 0:45 mins

Sophomore: The term comes from Greek σόφισμα (sophisma), “acquired skill, clever device, method” The term sophomore is probably a compound of the Greek σοφός (sophos), “wise” + μωρός (moros), “foolish, dull”. An experimental project based on my collage artworks

Constantinos Chaidalis: I am a multidisciplinary designer from Athens, Greece. I work as a creative director and motion graphics designer for advertising agencies and production houses. I usually work for tv commercials, sometimes working on compositing, direction, matte painting and design. I also work as a director for theatrical video installations and as a graphic designer/illustrator as well. My self initiated projects usually are experimental and very personal. Technically I try to experiment as much as I can with new digital media and software and also with with traditional creative media (screenprinting, traditional animation, video, photography).

Day 10 > Kate Jessop

On Miles Platting Station – TRT 2:32 mins

Following Simon Armitage’s metaphoric journey from the Pennine moors down into the bustle and noises of central Manchester, dedicated to a station that no longer exists, using images from Manchester’s other ghost station: Mayfield Station. An animated adaptation commissioned by Comma Film for the New Islington Festival 2007, Manchester.

Kate Jessop is an award-winning animation filmmaker who has worked across illustration, animated shorts, promos and theatre; her work described as “magical”, “showing true heart” and “an old soul, full of youthful innovation”.

She has been selected for numerous national and international festivals and touring programmes such as Raindance; The Best of Birds Eye View; Stuttgart and Tricky Women. Her first film ʻDesiresʼ was a Virgin Media Shorts Finalist, represented the UK in The Best of Women in Film and Television International and was picked up for global distribution by Shorts International.

Day 11 > Alastair Cook

Filmpoem 38/ Ocean – TRT 3:22 mins

Filmpoem Festival 2014 commissioned British poets David Harsent, Helen Mort, John Glenday and Michael Symmons Roberts to produce new work on the theme of migration. Filmpoem then commissioned films of these poems; these films will be presented in conversation with poets John Glenday, David Harsent and Michael Symmons Roberts.

Ocean is by David Harsent, directed by Alastair Cook with cinematography by James William Norton and sound composed by Luca Nasciuti. Alastair, James and Luca form the main growing making poetry-film under the name Filmpoem. Filmpoem was founded by artist Alastair Cook in 2009 and is dedicated to the filming of words. The combination of film and poetry is an attractive one. For the poet, perhaps a hope that the filmmaker will bring something to the poem: a new audience, a visual attraction, the laying of way markers; for the filmmaker, a fixed parameter to respond to, the power of a text sparking the imagination with visual connections and metaphor.

David Harsent has published ten collections of poetry. The most recent, Night — published in January 2011 — was Poetry Book Society Choice for Spring 2011 and won the Griffin International Poetry Prize, as well as being shortlisted for the Forward Prize (Best Collection), the T.S. Eliot Prize, and the Costa Poetry Prize. He is Professor of Creative Writing at the University of Roehampton and a Fellow of the Royal Society of Literature.

Alastair Cook works with lens-based media focusing on large format film and wet plate collodion photography; he is also an award winning filmmaker using 8mm and 16mm film, combining these with digital technology to great effect. His work is driven by his skill and experience as a conservation architect: this mercurial work is rooted in place and the intrinsic connections between people, land and sea. Filmpoem ( ) was founded by Alastair Cook in 2009 and is dedicated to the filming of words.

Day 12 > Ellie Irons

Phytoplastic – TRT 3:32 mins

I am an interdisciplinary artist exploring the long tradition of the artist-naturalist in a contemporary, hybrid format. Working across mediums, I engage the interplay between humanity and ecology, investigating what it means to be alive in the advent of the Anthropocene. As an undergraduate, I studied environmental science and fell in love with biology field work. I began to integrate science and art, combining them into a practice drawing on the lab, the field, and the studio.

Wether creating a public project or a video piece, I strive to create work that reveals how humans are embedded in ecological systems rather than distinct from them. This leads me to a site-responsive practice through which I investigate my local habitat, be it suburban wasteland, urban waterway or old growth forest.

I use the tools at my disposal, from pencil to WIFI, to reconsider our long held notions of nature. Reframing nature as ecology, I locate humans in an all encompassing, inescapable network of melting ice, shifting populations and evolving technology. For me, this is a contemporary notion of the sublime that demands to be acknowledged and explored.

Phytoplastic tracks the deterioration of a microscopic aquatic ecosystem through physical and chemical pollution. A small puddle of water containing a healthy community of algae and other phytoplankton grown from a sample of Hudson River water are subject to a barrage of pollutants, from plastic particles to bleach, silt and dish soap, creating a succinct portrait of ecosystem collapse. The footage for this piece was shot through a Motic Compound Microscope at the SVA Nature and Technology Lab. Sound was recorded along the Hudson River piers and at Echo Lake in the Sierra Nevada Mountains.

Ellie Irons is an interdisciplinary artist and educator based in Brooklyn, NY. Her work explores the interplay of humanity and ecology through drawings, environmental sculpture and new media. She has done workshops and exhibitions at Wave Hill, The Bronx Museum’s AIM Biennial, the Queens Botanical Garden and Trade School, NYC. Recently she has been an artist in residence at the Institute for Electronic Arts at Alfred University and the SVA Nature and Tech Lab. This summer she is cultivating an Invasive Pigments garden at the Center for Strategic Art and Agriculture at Silent Barn in Bushwick and presenting a solo project at Flora Arts and Nature in Bogotá, Columbia. Irons teaches part time at the City College of New York and at Brown University and is a member of the collaborative group Future Archaeology. She studied Environmental Science and Art at Scripps College in California and received her MFA from Hunter College in 2009.

Day 13 > Tobias Stretch

Unity – TRT 5:12 mins

Music By Christopher Bono
Performed by the New York Virtuoso Singers
Conducted by Harold Rosenbaum

“A cinema which is studded with dreams, and which gives you the physical sensation of pure life, finds its triumph in the most excessive sort of humor. A certain excitement of objects, forms, and expressions can only be translated into the convulsions and surprises of a reality that seems to destroy itself with an irony in which you can hear a scream from the extremities of the mind.” Antonin Artaud

Day 14 > Eric Souther

Impermanence – TRT 5:04 mins

The single channel video Impermanence (2011, HD) was shot in Times Square, a space of animated architecture and fast-paced crowds, acts as a physical representation of our electronic culture, an icon of media saturation. How do we exist in this space, past and present?

Technical Details: Frame difference analysis shows pixel change from one frame to the next by change being imaged white and no change black. A video switcher flickers between past and present time of 8 offset signals and a slide creates variations of time trails. All parameters can be manipulated in real-time and recorded for edit.

ERIC SOUTHER is a video and new media artist who creates custom software for manipulating audio and video in real-time. His interest include the materialization of digital aesthetics and the ritualistic spaces of media: the masks of media, the myths of media, and how they change the way we perceive our world. He received his M.F.A in Electronic Integrated Arts from Alfred University in Alfred, New York, and his B.F.A in New Media from the Kansas City Art Institute in Kansas City, Missouri. He is currently an Assistant Professor of New Media at IU South Bend.

Day 16 > Jennifer Linton

Domestikia: An Account of Some Strange Disturbances consists of three short animations, all taking place within an imagined dollhouse and loosely linked together by an overarching narrative. This series employs a traditional stop-motion technique known as ‘cutout animation’, one of the earliest forms of stop-motion that uses flat characters and backgrounds cut from paper. The technical limitations of paper puppets, with their characteristically stiff and unnatural movements, make cutout animation particularly well suited to animations whose themes involve fantasy, surrealism, dreams, and that which otherwise lacks realism. Rather than being a hindrance, the anti-realism of the paper cutout serves to amplify the strangeness of the events that happen throughout. My work investigates the Domestic Gothic, a type of narrative that incorporates the fantastic, grotesque and uncanny within the domestic space. The vast majority of the animation featured in my videos was done “under camera”, with only a small amount of digital effects added in post-production.

Jennifer Linton is a Canadian interdisciplinary visual artist working with animation, drawing, installation and printmaking. She holds an MFA in Visual Arts from York University, and a BA in Art & Art History from the University of Toronto. She teaches in the Faculty of Design at OCAD University and in the Visual & Creative Arts program at Sheridan College. Linton has exhibited her art internationally, with shows in the U.S., Italy, and across Canada. Recent screenings of her work include the Female Eye Film Festival in Toronto, and the Boston Underground Film Festival.

Jennifer Linton has received financial support from the Toronto Arts Council and the Ontario Arts Council for her project Domestikia, Chapter 3, La Petite Mort.

Day 17 > Stephanie Loveless

see video

Torch Song – TRT 6:00 mins

“Torch Song” (2008) is a video, sound (and sometimes performance) piece about unresolved desire.

The piece’s construction began with footage of a female fire dancer that I shot on Super-8 film and hand-processed. I then digitally solarized, looped and disintegrated the image through layers of time-stretching and re-photography. Palpable tension between attraction/discomfort and power/immobility emerged for me as I worked obsessively with this image.

To accompany the footage, I produced an a capella version of Oscar de Leon’s “Lloraras”, a Venezuelan pop song that tells a story of love and revenge. In live performance contexts, I stand beside the video projection, and channel the complex feelings that the piece evokes in me by vocalizing a focused, strained, repetition of the syllable “AH” for the duration of the piece.

A unifying thread of my creative work, which includes film, video, sound, installation and performance, is the transformation and re-generation of recorded materials.

From 2003-2007, I worked primarily with film and video sequences that I would disintegrate through labour-intensive analog and digital processes. More recently, I digitally transform found sound recordings and vocally mimic the results as exactly as I can, in an attempt to embody a variety of others — from iconic 20th century singers and songs (in “For Romantic Fantasy” and “For Lack of Voice”), to the voices of non-human species (in “Therianthropy” and “Cricket, Tree, Crow”).

Stephanie Loveless is a Montréal-born artist who works with sound, video, film and voice. She makes soft-speakers out of paper cups, performance prescriptions for audience-identified ailments, and sound works that attempt to channel the voices of plants, animals and musical divas.

Loveless’ sound, video and performance work has been presented widely in festivals, galleries, museums and artist-run centers in North America, South America, Europe and the Middle East. She has received grants from the Canada Council for the Arts, the British Columbia Arts Council and el Universidad Nacional Autonoma de Mexico; awards from Kodak, the International Festival of Cinema and Technology, and the Malcolm S. Morse Foundation; and has completed residencies at el Centro Mexicano para la Musica y las Artes Sonoras (Morelia, Mexico), the Coleman Center for the Arts (York, Alabama), and Studio XX (Montréal, Québec).

She holds MFAs from Bard College and Rensselaer Polytechnic Institute, and recently completed a certification in Deep Listening with composer Pauline Oliveros. She currently lives and works in upstate New York.