Paul Glabicki

Twenty animators from the U.S., Switzerland, Poland and China express their friendship with and love of animation in a series of animated variations on the standard countdown.

Designed for continuous single or multiple monitor display (as well as video projection), the tape is a collection of computer animated sequences of celestial images spanning time and cultures, moving objects and images in harmonic choreography and spatial play.

A collage of footage and audio captured off of television during the course of one night. The footage is reshot and hand-tinted, giving it a ghastly effect, and becomes (as Glabicki describes) "religious drama, murder mystery, musicals, horse races and horror films."

A mechanical dream is told in a series of elaborate tableaux. Machines, interiors, objects, re-composed pop imagery, fashion models, wrestlers and sleeping figures flash out of darkness to be seen and momentarily observed.

The film is a journal (drawn by hand over a period of four years), opera, and journey through 100 animated sequences which are joined and transformed by 100 film wipes in continuous successsion. The film is a synthesis of both abstract and figurative imagery, analysis and commentary, writing and multiple languages, multi-layered sounds and music, lyrical and contrapuntal relationships, and elaborate animated compositions. The film plays with the thresholds of change between intuition and analytical thinking, as well as between what is read or heard as "figurative" or "abstract." The various animation sequences range from pure geometric abstraction to symbols, metaphors and icons (boxing ring, car, chair, airplanes, steps).

Experimental animation film structured on adaptation of five literary classics: Madame Bovary, Frankenstein, Twenty Thousand Leagues Under the Sea, Gulliver's Travels and The Voyage of the Beagle.

A series of source objects are presented, defined, demonstrated, discussed, spoken about, juxtaposed and progressively re-invented during the course of a multi-layered visual and aural "conversation".

The diagrammatic space first entered in Diagram Film becomes the stage for temporal, rhythmic, informational and spatial play with a single diagram (a 144-drawing cycle) that refers to the film and animation process, animation history, specific filmmakers and other encoded data. The arrangement of the drawings for each of the five sequences was improvised on the animation during the act of shooting, creating five variations and possible readings of the animated composition.

DIAGRAM FILM alternates shots of planes, cars and people walking with comically elaborate moving diagrams of them. And sometimes it reverses itself, as when a group of triangles is replaced by a shot of tepees. The diagrams head off into fantastic Rube Goldberg machine movements, with details undergoing constant transformation.