ATA Gallery was stuffed to the gills last night with an audience eager to injest a program of high caliber, mostly local animation work. Politically-tinged experimental shorts introduced the show, then Jeremy Rourke transported us through dreamy ruminations of his shifting studio coordinates in Goodbye Cole/Hello Tunnel. Cutouts of vintage imagery, postcards springing into action, and layers of clay, video, and pencil peeled off into nested realities. Adding spoken word, song, and guitar, Rourke jumped on and off a podium to interact with the projections in surprising ways. With exuberant splash, his inventions brought the audience to cheers. I highly recommend you look out for more performances of Jeremy Rourke, possibly next season at Other Cinema!
Facing West Shadow Opera then performed an ode to Walt Whitman, celebrating links between opera and nature in the settling of the Wild West. Two opera singers and a cello gave a flawless classical performance. However, music outpaced the visuals. Delicate and beautiful shadow puppets required surer hands and precise direction. At times their movements felt more awkward than graceful. The narrative, with bulky intertitles, fell flat.
The Academy Award nominated short Last Day of Freedom, directed by Dee Hibbert-Jones and Nomi Talisman, concluded the program with a somber note. It told the story of Manny Babbitt, a traumatized Vietnam war veteran who ended up on death row through a tragic miscarriage of justice. The pencil drawn animation and rotoscoping of the veteran’s brother sensitively expressed this disturbing story.
Photos by Kristin Cato
The first annual New Strands Festival took place this weekend over four days at A.C.T.’s renovated Strand Theater near Civic Center. The festival brings in works-in-progress and invites innovative media work that crosses disciplines. I saw only one hour-long program: The World Made Itself and Myth and Infrastructure, by Miwa Matreyek. The event was free and the audience small, but it stunned me enough to affirm this space offers Bay Area theater an exciting new platform for experimental artists.
Matreyek performs her animations by literally stepping into them, behind a film screen. Her silhouette interacts with a flow of outrageously gorgeous imagery. This graceful shadow dance depends on precision and timing, as it must match the movements on screen. She uses a unique technique combining rear screen and frontal projection so her form passes between planes of the image. She appears to stumble between buildings, or to reach an arm into a forest of trees. The animations become three dimensional, popping out around her shadow. At one moment, the shadow wraps its arms around a baby, amid ruins of the World Trade Center, a scene that reasserts the theme of perpetual creation, yet a remembrance of the motherless children who survived.
At other times, her meandering form represents the Creatrix exploring all corners of Her world, who then swims bewilderedly through it. She coaxes exquisite ferns into existence, liberates the amphibians, and measures millennia with a yardstick. Cities sparkle with electric twinkling. Yet both films question the future, and humanity’s out-of-proportion tendency to raze all that came before it, a victim of its own escalation and machinery.
The experience was a true find, exceeding expectations. Check out her work here which includes glimpses of her performing behind the screen.