ANIMATION DOES TO HISTORY WHAT IT DOES TO NATURE. ANIMATION EVOKES HISTORY, PLAYS WITH IT, UNDERMINES IT, SUBVERTS IT, BUT IT DOES NOT HAVE IT, JUST AS IT DOES NOT HAVE NATURE. IT HAS SECOND NATURE. OR DIFFERENT NATURE. IT HAS DIFFERENT HISTORY. IT MODELS THE POSSIBILITY OF POSSIBILITY. -ESTHER LESLIE FROM “ANIMATING HISTORY”
Gestures for a Plague Season or Goodbye Earthworks (2020-ongoing)
100 Partially Obscured Views (2018)
The City I love is Destroying Itself (2017 for Longreads)
I grew up hearing stories about my great-grandfather, a Jewish immigrant and tailor, who worked in various high-end department stores in Manhattan. He would save the discarded scraps from the apparel he was working on and seamlessly piece together shirts and dresses for everyone in the family. I think I’ve always been drawn to textiles and their patterns for this reason. In 2018 I discovered a Book of French Textile Samples (1863) at the Public Domain Review.
The rough square samples were composed in unpredictable ways on each page. I was curious about how the patterns could create a kind of narrative through movement. From there I began ‘weaving’ short animations into the bookplates. Later I moved onto other Public Domain Review featured books that intersected with my other interests in alchemy, biology, geometry, pattern poetry, atmospheric phenomenon, sound visualizations, water and wave formations and others. I try to create one animation a day and post to Instagram. This is meant both as a way to continue experimenting in animation, but also as a way to learn more about these fascinating text. I’ve amassed so many at this point, I now create small reels organized by text to screen in micro-film programs. I will premiered the full reel of PDR animations at North Rock Center for Sculptural Arts Summer Invitational 2020.
“Studies on Twilight Phenomena, after Krakatoa” (1888) Chromolithographs from watercolour images by Eduard Pechuël-Loesche via The Public Domain Review. I added some charcoal from this year’s fires (2020)