Deanimation

De-animation

These works depict complex movements and unseen trajectories. They start by fixing upon some natural subject, something that stands out, and moves in a lively way. Through sequential exposure, the subject becomes a tracer, something to register a series of photographic imprints across time. Then, through algorithmic blending, the series of imprints are superimposed to form a composite image, the final artwork.

This collection of 15 prints captures movement in and around the Tuolumne River in Yosemite, California in 2017. The subjects, the tracers, are bubbles, pine needles and other floating forest debris, projectile water droplets , and other flying things.

Click on any of the images below to learn more.

Each work is a unique print (edition of 1) in an archival frame package, ready to hang. I print the prints and make the frames and frame the works myself in my studio.

How the frames are made

About the series

There are mysterious things out there waiting to be seen, hidden from the naked eye. With determination, careful technique, and a bit of luck I try to reveal them. Sometimes the resulting images are esoteric. Sometimes they appeal to our human affections. What we might take for a mundane scene, can turn out to be full of spirit and life.

What I’ve done is to capture moving subjects with video. The camera is set on a steady tripod, so that the background can remain stable and only the motion of the subject comes through. It helps if there is some contrast between the subject and the background –in the case of this series the subjects are light and the background is dark.

I take the individual frames from a video clip to produce an image sequence. Then, with pixel-processing and computational techniques, the frames are superimposed into one final still image. In doing so, the paths that these moving, fleeting subjects take through space become revealed.

What I see in these trajectories are line drawings with a liveliness that comes from directly tracing the physics of nature. The lines are abstract, like that which a simulation or an algorithm might produce. At the same time they are concrete, they are captured representations of physical subjects following their own rich and complex paths through the real world.