Lee Evil and Dougy Gyro in his “Nautilus” costume.
The tenth Edwardian Ball crept up upon us unawares, while we were still sleepy from holiday overeating and adjusting to our regular work schedules again. All of a sudden everyone seemed to say “This weekend? But I haven’t a costume!” And thus began the yearly scramble, with last-minute runs to the fabric store and safety pins carefully tucked away inside as-yet unfinished garments. The Edwardian Ball is one of those rare events where everyone–not just the performers and regulars–dons a costume. For some of us this means little more than our everyday wear, while others brainstorm for weeks.
Part of the 2010 Sundance Film Festival’s Animation Showcase, Adrien Merigeau presents the tale of a young wolf’s sojourn to a dark and foreboding forest. Accompanied by two friends, his mission is to find his estranged father. Whether or not he will find closure as well remains to be seen.
I’ve been walking through this forest for some time now. I came here after I left work. I shut my oyster off, placed my paperwork in my squid and got on the elevator. It brought me down to the forest, and now I’m walking home. It seems like it’s taking a lot longer than usual. I begin to worry that it may be taking too long. If I’m not home in time for dinner, the terrorists will kill my girlfriend. This cannot happen. I begin to run, but it’s no use. I must have taken a wrong turn somewhere. I frantically look around, trying to regain my bearings. To my left, I hear a noise. Whipping around, I notice that the brush is rustling. Suddenly, a nyala with a man’s face emerges from the brush. We stand there for a moment, staring at each other. Or maybe we stare at each other for a long time, I’m not sure. I am sure, though, that we stare at each other. Then the man-nyala slowly opens its mouth and in a deep, lugubrious voice says, “The mother’s milk is poisoned by the quiche.” Then it begins to scream. And then I wake up.
It’s a little sad, how the advent of CGI rendered much of the animatronics industry obsolete just when cinematic robotics were starting to get so intricate, so lifelike. But the technology retains its place, and under certain circumstances, there’s still a definite advantage to using animatronics instead of CGI or stop motion. Some truly badass robotic FX artists have continued to find plenty of work. Take British wunderkind John Nolan, for instance:
Squeee! Although a relative newcomer, Nolan’s already worked on everything from Hellboy to Where the Wild Things to Doctor Who to Harry Potter. You have to check out his entire show reel. Incredible stuff.
It’s Saturday morning where you are, probably. Early Sunday morning here. But I still have to be up at the butt crack of dawn for a transcontinental business meeting, damn it. Thank the dark infernal overlords I have DOOMCOCK, here:
One could not ask for a more rousting alarm clock. (Click here for the original “acoustic” version.)
Hatebeak just shit itself and Caninus is whimpering behind the couch with a tucked tail.
You’d think that after the past, oh, six years on the internet, an image of human flesh mingling with cephalopods would scarcely register with a seasoned browser. It seems that time has finally proved that even the most devout of C’thulhu enthusiasts occasionally reach a tentacle limit. However, my deep, personal fear of web frigidity was dispelled with but a glance at the painting below.
Yes, I can still feel.
Monica Cook, a painter from Georgia, started out as a self-portraitist, moving on to other subjects several years into her career. Her earlier work is relatively sober, with solitary female figures peering and gesturing enigmatically from their canvas quarantines. 2009 marked a period of transformation for Monica, when she created a series of sexually-charged paintings for a solo show at Marcia Wood Gallery, titled Seeded and Soiled. Showcasing mostly-nude, slimy women in glimpses of bacchanalian orgies and a more commanding brush stroke, these paintings are in quite a contrast to the self-reflecting maidens of Cook’s earlier work.
Delightfully energetic and fetishistic, Seeded and Soiled covers everything from power exchange and food play to asphyxiation and foot fancy. Click the jump for two more pieces from the series and two bonus cephalo-phallic images by Monica Cook.
More cynical types may pooh-pooh the Thriller flash mob phenomenon. “Meh. If you’ve seen one Thriller homage, you’ve seen them all.” But I prefer to receive each and every re-imagined Thriller dance as a precious, unique, and glorious internet snowflake. Will you join me? Let us twirl, Winona-like, reveling in their abundance.
Fascinating and beautiful time-lapse footage of sea scavengers feasting upon the corpse of a seal in Antarctica. Part of the BBC series Life narrated, as all nature documentaries should be, by Sir David Attenborough. You can see a higher quality version of this clip here.
These hypnotizing animated collages were created by Greek animator Aggeliki Vrettou. Her biomechanical creatures appear to be propelled into motion by everything from electric kitchen appliances to living doll parts. In many cases, the animals’ anatomy is completed by other augmented animals, such as the rat “tail” of the horse above and the breathing apparatus on the muzzle of her animatronic seahorse. Her web presence consists of a MySpace page, where this series can be found, and a YouTube channel where she hosts some mesmerizing animated music videos created for the Greek indie electronic band Ion. Vrettou’s stunning animations vaguely remind me of the haunting animation/artwork associated with Mer’s musical project, The Parlour Trick, created by Scott Spencer (this itself may appear reminiscent of a Beats Antique cover, but predates it). If you’re looking at this post in an RSS reader, the images may not appear to be animated. Click here to see these animals (and others from this series) in full swing!
