Chilean artist Marcos Sánchez is the director behind The Breeders’ music video for “Walking With A Killer.” Found footage is given new context and intrigue as animated by Sánchez, which follows the horror-themed aspect of the song’s lyrics. The artist’s short films and music videos have previously appeared in festivals across the globe.
Swoon first garnered recognition for her pasted portraits in public spaces, but a new show represents an evolution for the artist, currently showing at Deitch’s New York venue. “Cicada” collects new films, installations, and drawings from the artist, who was featured in Hi-Fructose Vol. 36. The sweeping show runs through Feb. 1, 2020. (Installation photos in this story by Genevieve Hanson.)
Chris Reccardi, fine artist, designer, animation director, character designer, and musician, has passed away at the age of 54 yesterday. Among many other properties and series, he was highly regarded for his work on The Powerpuff Girls, Samurai Jack, Tiny Toon Adventures, and The Ren & Stimpy Show. For the later, he famously composed the anthemic “Happy, Happy, Joy, Joy.”
Animator Tyson Ibele’s development of “tyFlow, a particle simulation tool for 3dsmax” has resulted in some absorbing creations. From writhing worm monsters and unraveling pixelated characters to a wave of colliding cyclists, Ibele’s tests move between humorous and disconcerting.
What makes Kouhei Nakama’s animations tantalizing is how each builds or deconstructs the face with alien processes. They’re comprised of swarming creatures or layers of liquid skin melting off a smiling face. In an era when every digital design student is showing off their realistic renders, Nakama’s artistry offers the unexpected in his engrossing portraits.
Colin Raff’s “Perturbatorium” is a collection of unsettling animations and collage work. Recalling the work of Max Ernst or Terry Gilliam, the work has a particular movement because of his “step-frame animation” method. The animations are rooted in Raff’s photo-collage work, which he has described as having “distinct 20th c. antecedents (Heartfield, Ernst, Höch, etc.).”