1. What do you understand by the word 'claymation'?
The word claymation comes from the combination of the word 'Clay' and the word 'Animation'.
"The term claymation was coined by its creator, Will Vinton, owner of an animation studio that worked with clay artists to create clay animation."
Claymation is a type of animation that uses clay to mould, in Djurberg's case, the characters and surroundings. The "illusion of movement" is created by slight ulterations to the clay figures then taking photos or short films after each ulteration. After this repetitive sytem you combine each shot together to create the animation.
The word claymation comes from the combination of the word 'Clay' and the word 'Animation'.
"The term claymation was coined by its creator, Will Vinton, owner of an animation studio that worked with clay artists to create clay animation."
Claymation is a type of animation that uses clay to mould, in Djurberg's case, the characters and surroundings. The "illusion of movement" is created by slight ulterations to the clay figures then taking photos or short films after each ulteration. After this repetitive sytem you combine each shot together to create the animation.
2. What is meant by the term 'surrealistic Garden of Eden'? and 'all that is natural goes awry'?
The term Surrealistic in this statement refers to the the out of reality approach Djurberg creates with her work. Taking inspiration from tradidtional flowers and creating her own surrealistic interpretation and turns the garden into something unexpected and off course. Reference to the "Garden Of Eden" contrasts Djurberg's work as the reality the artist creates with flowers is opposite to the perfect, holy like space the "Garden Of Eden" is known for.
The term Surrealistic in this statement refers to the the out of reality approach Djurberg creates with her work. Taking inspiration from tradidtional flowers and creating her own surrealistic interpretation and turns the garden into something unexpected and off course. Reference to the "Garden Of Eden" contrasts Djurberg's work as the reality the artist creates with flowers is opposite to the perfect, holy like space the "Garden Of Eden" is known for.
3. What are the 'complexity of emotions' that Djurberg confronts us with?
"she exposes the innate fear of what is not understood and confronts viewers with the complexity of emotions"
"she exposes the innate fear of what is not understood and confronts viewers with the complexity of emotions"
Viewing Djurbergs works creates a variety of deep emotions, some of which i personally felt were; disgust, curiosity and amazement. When viewing some of her claymation works, they tend start off more natural or expected with nude people and animals soon after taking a turn of the unexpected with sexuality, blood and death. "The delicacy of Ms. Djurberg's sculptural skills-- great blood and tears, for example -- is also buoying, but it doesn't hide her decidedly perverse view of human nature".
4. How does Djurberg play with the ideas of children's stories, and innocence in some of her work?
The use of clay animation typically links to children's cartoons and movies such as "Wallace and Grommet". Djurberg has taken this inspiration, along with bright colours and child like animals to create a adult, artistic range of animations. The combination of nudity, blood, sexuality, and death in these short films still strangely upheld a weird innocents about them. Some of Djurberg's works seem to relate to common fairy tales. In one case involving a little girl in a cutesy house, morphed to a sexual wolf; Called 'We are not two, we are one'. This reminded me of little red riding hood. This play of innocence makes her work extremely dramatic when viewing the raw evil within her stories. "The protagonists of Djurberg's stop-motion animations are hand-modeled plasticine puppets. If this reminds you of some cute tv programme you followed as a kid then let me crush any nostalgia you might have. Her animations show human beings at their most crass, psychopath, sadistic and often disarming behavior".
The use of clay animation typically links to children's cartoons and movies such as "Wallace and Grommet". Djurberg has taken this inspiration, along with bright colours and child like animals to create a adult, artistic range of animations. The combination of nudity, blood, sexuality, and death in these short films still strangely upheld a weird innocents about them. Some of Djurberg's works seem to relate to common fairy tales. In one case involving a little girl in a cutesy house, morphed to a sexual wolf; Called 'We are not two, we are one'. This reminded me of little red riding hood. This play of innocence makes her work extremely dramatic when viewing the raw evil within her stories. "The protagonists of Djurberg's stop-motion animations are hand-modeled plasticine puppets. If this reminds you of some cute tv programme you followed as a kid then let me crush any nostalgia you might have. Her animations show human beings at their most crass, psychopath, sadistic and often disarming behavior".
5. There is a current fascination by some designers with turning the innocent and sweet into something disturbing. Why do you think this has come about?
The idea of having innocent and dark in the same work has been around for a long time. In not Just art but in films, books, poetry and plays. The contrast between the two creates a strong emotional and viewing impact. it has become increasingly popular in recent years. A classic example i can think of where these designers have gained inspiration is The Children's Book and two Disney movie hit, 'Alice In Wonderland'. The innocents of a little girl, trapped in a surreal, dark, delightful, crazy world. This whole dream like approach gives designers so much openness to express though their work, contrasting colour and life with morbid and dark tendencies. In Djurberg's short, powerful films, she would display the juxtaposition between the sweet and the disturbing.
"Their main characters are girls or young women engaged in various kinds of vileness: from mild deception, friendly torture and oddly benign bestiality to murder and mayhem. Their content is a kind of darkness so manic that it almost turns light, helped along by the cheerful music of Ms. Djurberg's collaborator, Hans Berg".
This collaboration of ideas creates interesting viewing, as the unpredictable structure entices.
6. In your opinion, why do you think Djurberg's work is so interesting that it was chosen for the Venice Biennale?
Djurbergs work is a very unique combination of skilled sculpture, music and film making. The animations she creates can relate to a large audience without the use of dialogue. The unique approach combing instillation and Claymation provokes thought within a surreal world that the artist has created. Djurberg's work is powerful and intense, making it worthy for the Venice Biennale.
7. Add some of your own personal comments on her work.
Djurberg also plays with scale in the Garden of Eden display, creating over sized flowers and details amongst the petals. This exaggerated form of a garden not only draws you in, but develops a world of imagination. At first glance you may only see 3D sculpted flowers, though as you look closer the flowers seem to be seeping blood and flies dwell amongst the blood soaked petals. I appreciate the raw emotion displayed through movement in Djurberg's claymation works. the use of bold colours and gestures allow the audience to not only follow the story, but feel it.
References:
http://www.wisegeek.com/what-is-claymation.htmhttp://query.nytimes.com/gst/fullpage.html?res=9D04E6DE133EF93AA25756C0A9609C8B63
http://we-make-money-not-art.com/archives/2008/04/there-are-very-very-few.php
http://www.youtube.com/watch?v=KWrPZGgudMM
http://www.wurzeltod.ch/?cat=21
http://www.domusweb.it/en/news/nathalie-djurberg-at-boijmans/
