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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To Heal You, I Hardly Know What to Do,
stop motion charcoal and chalk drawing animation, 13s, 3840 x 2160px, no audio, 2023 |
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Untitled,
stop motion charcoal and chalk drawing animation, 36s, 3840 x 2160 px, no audio, 2022 go to project ⮕ |
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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 project ⮕ |
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Karma Speech
stop motion charcoal drawing animation | 14s loop | 3840 x 2160 px | no audio | 2022 go to project ⮕ |
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for campers to share. ... House Area
stop motion animation | 22s loop | 3840 x 2160 px | no audio | 2022 go to project ⮕ |
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The Easy Way to Heal Yourself
stop motion animation with clay and light | 1m31s | 3840 x 2160 px | no audio | 2021 |
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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 go to project ⮕ |
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