MAN WITH SPECTACLES

Another culled from ....Phibes.

OLD SURLY MAN

Based on scene from Road To Perdition.

MAN WITH HAT

Based on scene from The Abominable Dr. Phibes.

GET CARTER TITLE SEQUENCE

A short, animated sequence created for a 12-week introductory, Flash animation course through Pittsburgh Filmmakers, with most excellent instructor Brian Staszel. For some reason I’d became attached to this brilliant, but rather violent and bleak 1971 film and proceeded to spend about 40hrs producing this piece which involved printing out stills from the film, which I then loosely rotoscoped with Speedball pen and ink onto onionskin paper. Scans were made of these drawings, then adjustments made in Photoshop, then converted to vector graphics in Illustrator and exported as .swf files which were then imported into Flash. The Flash .mpg conversion is less than optimal and dropped out some frames not to mention Blogger dithered the shit out of the vector graphics.

I changed the theme about three times, from an instrumental Serge Gainsbourg piece to, some NIN off Ghosts and finally the lovely bit you hear from Kammerflimmer Kollektief’s amazing 2005 album Absencen, which I highly recommend and everything else from this amazing German group of musicians and give great heaps of props to in using their music.

SPECTRUM, LIVE @ THE ANDY WARHOL MUSEUM 5.1.2009. REINTERPRETED

A refreshingly older crowd. Undersold. A sublime stainless-steel boot in the ass. As C. Kleid puts it. “...he (Sonic Boom) pretended to be simple-ish and then proceeded to dominate everyone in the room.” Edie, you were beautiful.

NIGHT GALLERY

Stills from the Braddock Light Show at Unsmoke Artspace.

BRADDOCK LIGHT SHOW

Unseasonably warm temperatures this weekend made Friday evening one of those dreamy occurrences that for all intents and purposes make Pittsburgh ground zero for unpretentious artistic culture. Unsmoke Artspace, a converted Catholic school in the heart of Braddock (and right across the street from United States Steel’s Edgar Thompson Plant) opened up two floors and a large outside space (complete with the most primitive of art, a pit fire), to an assortment of installations and performance that revealed themselves in places of discovery that made the entire exhibit a kind of gleeful treasure hunt as one roamed around the grounds. It reminded me in no small part of the 1998 Horsehead show at Magnuson Park in Seattle that left a profound impression on me as one of the more magical art events in my lifetime. This evening is a close second.