Recovering the Movement of Calligraphy in Animation
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This exegesis explores the way in which the gestural expressiveness of Chinese calligraphy can be recovered in the medium of animation. My animation, Ink Dance is based on traditional hand drawn calligraphy, combined with the live action of dancing to create a dynamic contemporary spirit. The flow of calligraphy can be compared to the dancing figure. Body movement and calligraphy can both present motion, gesture, rhythm and balance. The main methodologies I use for my research are action research, case studies and art historical research. Through these processes, I develop a deeper understanding of the interaction between the varied genres in my investigation, and contextualise the relationship that I have explored between Chinese calligraphy and painting, animation and movement. I have used the time-based techniques of animation to evoke the qualities of transience and movement intrinsic to traditional Chinese aesthetics to create a compelling contemporary work. As the visibility, value and dissemination of Chinese art escalates around the world due to the growth in the Chinese economy, and consequently the increase in its global economic and political importance, my research into the use of Chinese calligraphy in animation will promote understanding of the aesthetics of Chinese art within a cross-cultural, cross-media context. To date, Ink Dance has been selected for screening at the Queensland New Filmmakers Awards, 2010 (Australia), KROK International Animated Film Festival, 2010 (Russia), the International Animation Film Festival “Golden Kuker”, 2010 (Bulgaria) and will also participate in a group exhibition Drawing and Animation at the Gympie Regional Gallery, Queensland in 2011 (Australia).
Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art, Griffith University
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