Breed

咘哩嘚

Breed 

InDirect Animation in 8 mins 39secs.

 

 

SYNOPSIS

The sky is vast, the wilderness is boundless 

While the lonely maple tree stands at the corner of the world 

It bears thousands of seeds,Transforming into butterflies

 Flirting and dancing over the water bubbles 

They fall in love

Bird hatches eggs and give birth to twelve 

Dragons, snakes, tigers, frogs, and Jiangyang(the ancestor of humanbeing)

 

The film was born out of personal exploration related to rules and boundaries of moving images ,combing with the desire to create new lifes through the methods of painting, reprinting and photography. 

I regard those handmade images as fertilized eggs transplanted into my body, surpassing the surface of plates, mirroring the vegetative and zooid life of film. The dynamic images of the egg hatching after conception in the state of infinite movement.

“Mythology is not a product of pointless imagination; it is only when we bring forth the meaning of mythology that we can understand the childhood of humanity.”

 

CAST & CREDITS

Director: YiyangSun

Animation: YiyangSun 

Print making: YiyangSun 

Photography: YiyangSun

Sound design: YiyangSun 

Music: Yiu Chong Shen

Her Voice: Seren Oroszvary

Compositing and editing: YiyangSun

咘哩嘚

间接动画 8分39

简介

天苍苍野茫茫

独有枫树立于天角角

结种千百化蝶

蝶恋水泡游方

鸟孵卵生十二

龙蛇虎蛙及姜央


作品诞生于作者对图像运动规则和边界的探索,与通过复制转印、绘画、摄影等方法创造新生命的欲望。这是一部带有植物性和纪实性的实验动画短片,作者将手工胶片影像视作一枚受精卵移植进自己的体内并以第三者视角进行运动观察,在无限运动的状态下受孕后孵化的动态影像。

“神话不是无谓想象的产物,当我们将神话的意义显影之时,得以重返人类的童年。”

导演:孙逸阳

动画:孙逸阳

版画:孙逸阳

摄影:孙逸阳

声音设计:孙逸阳

音乐:沈耀忠

人声:Seren Oroszvary

编辑合成:孙逸阳

播放影音

Breed咘哩嘚

2024|8min 39secs|Indirect Animation

In the same way that human being first painted animals‘ running image on the ancient mural ,I leave my personal imprint in reality continuously. When I work on experimental animation, media, methods and rules are being extended and broken down.

Photography is no longer photography, animation is no longer animation, printmaking is no longer printmaking and Space is no longer defined by a single color.

I come back ,learning to re-enter human body ,imaging rules of game and choosing to become a prisoner crafting time and imprinting myself,

frame by frame.

就像人类最初在远古壁画上刻绘下动物奔跑运动的图案那样,我持续地在现实中留下自己的印痕

当我在进行动画创作时,所有的媒介,方法和规则都被延伸瓦解了

摄影不再是摄影,动画不再是动画,版画不再是版画,空间不再被单一颜色所界定

 

Interview with film itself

 

Q: Did it hurt you when you are cut?

A: It seems that only a sick person would be entitled to such a slice view of his own flesh.

 

Q: Did you open your eyes during the surgery?

A: The outline flickers on and off, wading from my transparency to your transparency, I actively look for my operating lamp for refraction and reflection, I will knock each skull which coming to look after me.

 

Q: Seems that you pretend to be tough. What happening to you shaping yourself?

A: You stretch me out entirely and I’ll be a tangled umbilical cord. But there was always someone who would come along and help me untangle

 

Q: How do you take care of yourself?

A: Shrink down to a pearl, a germ, a speck of dust, a pixel, and take a leap into the ocean.

 

Q: It seems that human being hasn‘t discovered any medium that can completely stop the passage of time. This act may delay time, but the human body, the most fixed medium, is still destined to disappear.Does your act of disassembling the doomed human body from the image that gives birth to life can be interpreted as storing and shaping time?

A: Plants cannot move freely, but the organs of plants can move in space to adapt to changes in the environment. The locomotion of higher plants can be divided into two types: directional locomotion and perceptual locomotion.

Plant syntropism refers to the motion that has a fixed relationship between the direction of the stimulus and the direction of the induced motion. Depending on external factors, the types of stimuli involved in tropic motion are light, gravity, water, chemicals, touch, and so on.

.Perceptual movement is the movement of plants stimulated by changes in the intensity of environmental factors. ( light-sensitive, mild and seismic motion. )

But I’m not a plant.

采访一下胶片

 

Q:割的时候疼吗?

A:似乎只有生病的人才会赋予这样切片观看的权利俯视自己的肉体。

 

Q:你睁眼了吗?

A:轮廓忽隐忽现,我的透明会流向你的透明,我会主动寻找我的手术灯来进行折射和反射,我会敲打每一个来探视我的脑壳。

 

Q:那你挺坚强的,是什么让你变成了这样?

A:你把我的全部延展开来,我会变成一团打结的脐带。但总是有个人会出现,帮我把缠绕的结打开。

 

Q:你怎么保养自己的?

A:缩小为一颗珍珠,一粒细菌,一片灰尘,一个像素,然后纵身一跃,撞进大海。

 

Q:人似乎目前还没能发现任何能够完全阻止时间流逝的介质。这个行为可以让时间延后,但人类身体这一最固定的媒介仍注定会消失。所以你这种拆解人类注定消失的肉体同影像孕育生命的行为可以理解为储存和塑造时间吗?

A:植物不能自由移动整体的位置,但植物体的器官在空间可以产生移动,以适应环境的变化。

植物向性运动是指在刺激方向和诱导所产生运动的方向之间有固定关系的运动。依外界因素的不同,向性运动的刺激种类有关光、重力、水、化学物质、触觉等等。

感性运动是植物受环境因素强度变化的刺激而引起的运动。通常有感光、感温和感震等运动。

但我不是植物。

Breed咘哩嘚

Sound instalitation| Variable in size|2022

 

Though the installation you can hear the sound inside the film body ,listening to the fetal movement of the image.

听影像的胎动

Exhibition 展览

”观察孙逸阳的创作实践过程,就像看一部逐帧动画。她的“分解动作”如说明书般描述着隐藏在影像背后,制作每帧过程中 的“运动”。版画的“间接性”思维被她用于完成单帧静态图像, 即经过材料的多次转化来强调其制作过程。德勒兹在《时间 – 影像》中提到“影像会不断进入底片状态,因为它被纳入感知 – 运动的连贯中,因为它本身构建或推导这些连贯,因为我们永远无法感知影像的所有内涵,因为它就是这样设计的(不让我们感知一切,不让我们从底片中看到影像……)”。在我看来, 她希望打破这种设计,不断走出“底片”。 当版画进入她的影像创作中会产生媒介间的弥合,制作版画和 每一帧动画是一“动”一“静”的,而最终呈现的结果则相反。 这部逐帧动画《自然选择》中,明胶版呈现出气孔状的视觉语言, 这种“呼吸”的感觉与生命体是贴合的。她把人体结构拆解成数幅图像,构成如正在舞蹈般流动的脊柱、闪烁的细胞…最后通过影像的序列重新孕育生命。“

播放影音

Making of  幕后创作

 

My teacher asked me to paint on a piece of big big paper

But I always fail

So I decided to paint as small as I can,small as my nail

Shooting them into photos

Transferring as big as the screen can

That‘s basically how I animate

老师总是让我画大画

但我总是失败

所以我决定画小画

小到指甲盖这么大

然后再把它们拍大

连起来投影在屏幕上

这基本上就是我怎么做动画的

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