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A GIF animation
« Under the surfaceNo indulgence »

A GIF animation

07.10.15

  12:52:00 pm, by   , 421 words  
Categories: Art, Collage, Painting, GIF

A GIF animation


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These days I'm interested in fleeting images: animated GIFs.

I must say that at first it did not interest me; it is in doing that I saw the potential of this technique. Basically, I want to keep it simple, drawing inspiration from old books for children in which scenes change when pulling strips or old cartoons seen during my childhood. It is to the face that I naturally turned: what is more animated or easy to animate than a facial muscle?

And when we focus on the face, one inevitably falls on the largest experimenter- puppeteer of art: Picasso. I must say that I have, in the past, already made a series of collages from his paintings, but this was to question a work to recompose it, in short to make it my own. Here, Picasso is just a starting point, with some happy "rhymes", like the clock needle with the tears of weeping woman and a transformation of fingers into knife blades. What differentiates my collage - animated or not – here collage is the interpellation of the spectator. That is why I am more expressionistic. This need of interpellation is fundamental to me and probably the animated picture even better scotches the viewer.

 

 

Une animation GIF

Ces jours je m’intéresse aux images fugitives : des GIFs animés.

Je dois dire qu’au début cela n’intéressait guère, c’est en faisant que j’ai vu le potentiel de cette technique. Par principe, je veux rester simple, en m’inspirant de vieux livres pour enfant où les scènes se changent quand on tire des languettes  ou des premiers films d’animation vus pendant mon enfance. C’est donc vers le visage que je me suis naturellement tourné : quoi de plus animé ou facile à animer qu’un muscle facial?

 

Et quand on s’intéresse au visage, on tombe forcément sur le plus grand expérimenteur- marionnettiste de l’art : Picasso. Il faut dire que j’ai, dans le passé, déjà fait une série de collages à partir de ses peintures, mais il s’agissait là de questionner une œuvre, de la recomposer, bref de me l’approprier. Ici, le Picasso ne me sert que de point de départ, avec quelques « rimes » heureuses, comme l’aiguille du cadran avec les larmes de la femme en pleurs et une transformation de doigt en lames de couteau. Ce qui  différencie  mon collage – animé ou fixe de ce tableau, c’est l’interpellation du spectateur. C’est en cela que je suis plus expressionniste. Ce besoin d’interpellation est fondamental chez moi et sans doute l’image animée permet de fixer encore mieux le regard du spectateur.  

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