Owen 欧文 (painting) • Yeung Sin Ching 杨倩菁 (production supervisor) • Thomas Charvériat (art direction, animation & technical guidance) • Irmantas Bortnikas (documentation) • András Gál (blurb)
Never be too poetic. Never let the words overflow. Sometimes it’s necessary to tape your mouth shut and let the movement speak. In cinema you’ve got 24 frames per second for that. It means you’ve got to tell a story with 1440 frames per minute, 86400 frames per hour. The possibilities seem overwhelming and limited at the same time. Tens of thousands of compositions? And what happens in between the frames? Is it really just your imagination that creates flawless motion? Real life is the opposite. You don’t know where a story begins or ends or whether there even is a story at all. It flows on and on. The only thing you can do to prevent it from floating away is arbitrarily choosing a period of time and calling it memory. It doesn’t have to be conscious. Nor does it need to have a punch line. It can be a face, a hand, a shape or just a clear movement. You don’t even know who it belongs to and what happened before and after. But when that one single moment burns into your mind, you believe it will last forever.
N/A. Public collection, Sydney.
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