My connection with animation developed from an interest in expanding the field of painting and drawing. At first, I saw it as a medium that could most optimally describe the bigger picture in which an image could reside. I wanted to see how my paintings would station in a moving environment. I have done some experimental exercises as screen-capturing a hand-drawn accumulation of spots around a given picture, or animating marks on the wall around a taped drawing.
Continuing to pay attention to what is happening while I draw, I also became interested in watching as a stop motion animation the materials that document the evolution of an image. I find interesting information when I observe the gradual transformations or before-and-after comparisons between two stages.
I fully established my practice in this medium once I begin experimenting with plasticine. I am satisfied with animating bas-reliefs, as two-dimensional compositions. My fascination is with the solutions that were employed at the beginning of the movie industry when the vast majority of the effects were shouldered almost solely by enormous creativity and a generous induction of awe. I constantly try to educate myself, but it seems that I never stray too far from the initial influences of Georges Méliès and Lotte Reiniger. My method remains, by choice, minimal and naïve, and I try to supply it with an inventiveness that sprouts in my mind during my painting studio hours. The subject matter is often congruent with the concepts in my other works.
Continuing to pay attention to what is happening while I draw, I also became interested in watching as a stop motion animation the materials that document the evolution of an image. I find interesting information when I observe the gradual transformations or before-and-after comparisons between two stages.
I fully established my practice in this medium once I begin experimenting with plasticine. I am satisfied with animating bas-reliefs, as two-dimensional compositions. My fascination is with the solutions that were employed at the beginning of the movie industry when the vast majority of the effects were shouldered almost solely by enormous creativity and a generous induction of awe. I constantly try to educate myself, but it seems that I never stray too far from the initial influences of Georges Méliès and Lotte Reiniger. My method remains, by choice, minimal and naïve, and I try to supply it with an inventiveness that sprouts in my mind during my painting studio hours. The subject matter is often congruent with the concepts in my other works.
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The Weight of Words
stop motion clay animation | 2m34s continuous loop | 466 stills | 3840 x 2160 px | no audio | 2021/2025 go to page ⮕ |
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Fay
stop motion clay animation | 33s continuous loop | 67 stills | 3840 x 2160 px | no audio | 2021/2025 go to page ⮕ |
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Coral Farm
stop motion clay animation | 50s continuous loop | 76 stills | 3840 x 2160 px | no audio | 2021/2025 go to page ⮕ |
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In Your Own Words
stop motion animation with clay and light | 1m10s continuous loop | 105 stills | 3840 x 2160 px | no audio | 2021/2025 go to page ⮕ |
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The Drought Set In While You Were Sleeping
stop motion clay animation | 30s continuous loop | 55 stills | 3840 x 2160 px | no audio | 2021/2025 go to page ⮕ |
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Night Watch
two-channel stop motion animation with clay and light | 2m22s continuous loop each channel | 426 stills each channel | 3840 x 2160 px | no audio | 2024 go to page ⮕ |
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The Animated Trail of Destruction,
hand-painted animation | 9s continuous loop | 3840 x 2160 px | 23 stills | no audio | 2024 AP from Edition: 3 + 1 AP go to page ⮕ |
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Woman, Scaffolding
hand-painted animation | 40s | 3840 x 2160 px | 111 stills | no audio | 2023 1 AP from Edition: 3 + 2 AP go to page ⮕ |
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engaging activities, ... Back to All NightCrawler
animation from 25 wall drawings made with vynil cuttings | 14s loop | 3840 x 2160 px | no audio | 2023 AP from Edition: 3 + 1 AP go to page ⮕ |
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To Heal You, I Hardly Know What to Do
47 frames animation made with charcoal and chalk, observational hand-drawn and erased on the same background, 13s, 3840 x 2160px, no audio, 2023 AP from Edition: 3 + AP go to page ⮕ |
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Untitled
animation made with charcoal and chalk, observational hand-drawn and erased on 3 backgrounds, 36s, 110 stills, 3840 x 2160 px, no audio, 2022 1 AP from Edition: 3 + 2 AP go to page ⮕ |
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No title
collage of raw video footage and 3D animation | 1920 x 1080 px | 2m49s continuous loop | audio | 2022 Ana Maria Micu - concept, raw video footage Alexandra Constantinescu, Radu Constantinescu - concept, 3D animation, and editing go to page ⮕ |
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Karma Speech
charcoal animation hand-drawn and erased on the same background | 14s loop | 58 stills | 3840 x 2160 px | no audio | 2022 AP from Edition: 3 + 1 AP go to page ⮕ |
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for campers to share. ... House Area
animation from 109 wall drawings made with vynil cuttings | 22s loop | 3840 x 2160 px | no audio | 2022 AP from Edition: 3 + 1 AP go to page ⮕ |
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The Easy Way to Heal Yourself
stop motion animation with clay and light | 1m31s | 310 stills | 3840 x 2160 px | no audio | 2021 AP from Edition: 3 + 1 AP go to page ⮕ |
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Excerpt from "Acqua Alta"
animation | 6m2s | no audio | 2021 Ana Maria Micu - concept, digital drawing, clay animation, and editing Alexandra Constantinescu, Radu Constantinescu - concept, 3D animation Edition: 5 + 2 AP go to page ⮕ |
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What Hurts the Most Is Left for Last
observational hand-drawn animation with overlapping refrence video footage | 2m25s | no audio | 2018 go to project ⮕ |
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stillness is actually ... Then non-dual
animation made with charcoal, observational hand-drawn and erased on the same paper | 5m | 219 stills | no audio | 2017 AP from Edition: 3 + 1 AP go to page ⮕ |
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no title
animation from wall drawings made with vynil cuttings | 2m | no audio | 2016 go to project ⮕ |
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