Damaged Goods is a classic boy meets girl tale - but one with shattering consequences.
On the cluttered floor of a bric-a-brac shop a poor, down-at-heel boy looks up to the top shelf to see a beautiful girl in tears amongst the crystal and silver. Played out by ceramic figurines and accompanied by an original composed score, the story follows the boy's attempt to rescue the girl – and the tragedy that inevitably occurs when high culture falls for low.
An animation film in which young British Muslims explore and challenge negative portrayals and stereotypes of Islam in society and the Media through a series of snapshots conversations from across East London.
An experimental film essay investigating the cultural importance of cinema. In an age dominated by the moving image what would it feel like to never see an image of the place that you came from?
The Palestinian Film Archive contained over 100 films showing the daily life and struggle of the Palestinian people. It was lost in the Israeli siege of Beirut in 1982. Here interviewees describe from memory key moments from the history of Palestinian cinema. These scenes are drawn and animated. Where film survives, the artist's impressions are corroborated. This is a film about reconstruction and the idea that cinema is an expression of cultural identity - that cinema fuels memory.
Francis is an account of the creation of a 9-year-old 'defective' animated character. As the draughtsman’s hand goes to work and Francis attains animated consciousness, his behaviour is observed and assessed by a child psychologist. The boy’s responses – initially slow and apparently flawed – develop in unusual comic directions as the examination progresses.
As his vocalisations begin to address the nature of his animated world and the psychologist continues to try and interpret his actions, it appears that Francis may ‘break out’ once and for all and become a ‘real’ animated character. Francis playfully addresses notions of construction and the role that language plays in interpreting, classifying and creating certain types. In an animated world populated by impressionable idiot figures, mischief-makers and oddballs with strange vocal mannerisms, Francis puts the cute but simple cartoon character into therapy for a case study of 'animated behaviour'.
I am a Horse
I am a horse was a sculpture by David Salkeld. Derived from Halysites and siderite fossilised corral, which is expressed in a delightful free flowing ocean like style in its sense of play and movement.
The project was to recreate the sculpture as something new - an experimental animation. Working with the sculptor to recreate I am a horse in 3D animation as close as possible to the original sculpture, where the allusion of complex interlocking shapes was created out of one solid piece of wood in a series of components forming the impression of a horse.
The animation depicts the the sculpture forming out of the coral and fossilised formations and sea, and will express the natural flow of the shapes and sense of fun of the original design, before dissolving back into the sea.
Karen the penguin is not pleased to see John the polar bear on her doorstep. Their argument last night has put her in a very bad mood and John is on egg shells. John has had time to think however and has put together an apology that he hopes will appease her bad temper; he just needs an opportunity to say it out loud with Karen in ear shot. A cup of tea and a sit down would also be good. Karen reluctantly obliges.
