In intent my work is not self-portraiture (20) (and here I acknowledge the problematic nature of this statement as any artist’s work could be considered in some way to have elements of self-portraiture in it - and here I am also grossly generalising). However, through my research I have found that the number of animated portraits that are self portraits appears to be disproportionately enormous compared with the number that depict people other than the animator. There are a lot of really interesting animated self-portraits around, and since they may be seen to distantly relate to my work through helping inform my animation technique or visual style, I am going to waste some space by listing a few of my discoveries:
(Animated self portraits 1989)
(Voices, animation self-portrait by Joanna Priestly, 1985).
(Self portrait animation by Estefania Sabogal, 2011)
Additionally, I simply cannot write about influences in animation technique and not mention William Kentridge. Methodologically he has a significant place in my animation background, however his animations are often political narratives that explicitly contain self-portraiture through inclusion of his own image. I am well acquainted, however, with his technique of working on a single piece of paper per shot, erasing and adding marks, then recording each change by filming it.
While this is not my main technique this year, it still makes up a part of my animation repertoire, from which I may draw if the situation suits.
(Above: Felix in Exile, 1994. Where the character Felix Teitelbaum resembles Kentridge).
(Animated self portraits 1989)
(Voices, animation self-portrait by Joanna Priestly, 1985).
(Self portrait animation by Estefania Sabogal, 2011)
Additionally, I simply cannot write about influences in animation technique and not mention William Kentridge. Methodologically he has a significant place in my animation background, however his animations are often political narratives that explicitly contain self-portraiture through inclusion of his own image. I am well acquainted, however, with his technique of working on a single piece of paper per shot, erasing and adding marks, then recording each change by filming it.
While this is not my main technique this year, it still makes up a part of my animation repertoire, from which I may draw if the situation suits.
(Above: Felix in Exile, 1994. Where the character Felix Teitelbaum resembles Kentridge).
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