The above ’teaser’ is a sketch to define colours and movements, and it is also a test which proves that two-dimensional photographs can deliver a realistic effect (at least as background) when worked into layers and given a little nudge in perspective. Since our eyes permanently scan reality by rapidly gathering visual information from various points, we are easily deceived and perceive depth when only a few parts of the picture are animated according to the laws of perspective, as shown above. This is a similar phenomenon to that of cinematography itself. The first films experimented with 12 images per second and showed things moving, but they still flickered. Frame rates of 18 were tried next, until finally films were made with 25 frames per second (each split in half to obtain 50Hz), a frequency where movements become fluid and we readily believe in the reality of what we see. …All this is very helpful and reassuring, since the subject of my project will deal with impossible things and here is already one solution to it.
For the film, an essay of about 7 minutes, or perhaps a little longer, more complicated techniques will be used. I am currently building a miniature Trafalgar Square (1:1000 scale model) for an aerial entry sequence, so that Monsieur Nelson can be approached flyingly, but with much less tourists around and why not, a light morning fog - that is what the Square should be like, but of course never is.
Also, to let him start his journey on the right foot (for consecutive sequences down Whitehall and Parliament Square) I have already gathered a lot of material in the early morning hours with a cotton-tie between my feet moving 5cm sidewards for each single picture during 3-6 hours. A startling and amusing sight for the guardians there who would see me at the beginning of their shift on one side and towards the end of their shift on quite another side even though, when judging by the look of it, I was as perfectly immobile as them. The results in any case are very good: smooth time-lapse travelings, fully embracing the refined gothic style. These are aesthetic camera experiments in humble continuation of the pioneers: Walter Ruttman, Dziga Vertov, Ron Fricke and of course, Maya Deren.
The film will show live action imagery exploring the realm of air as a pleasant and transcendental experience. Please have a look at my last film on Mermaids swimming the mysterious underworld of Manhattan, from there it should be easy to understand that it is high time to explore the world above sea-level with a counterpointing masculine approach.
Approx. 31 x 29cm, print on 240gr matt paper. Limited edition of 100, numbered and signed. Featuring selected erotica from the 18th 19th and 20th century.
Approx. 93 x 87cm. Four thread weaving of which one is metallic. With surrounding elastic (see detail in the bottom left corner) to be hung stretched at 4 corners. Washable 30ºC.
This elaborate embroidered fabric is used as lining in most capes and coats of my current collection. It depicts selected erotica from the last three centuries. The inscription over the sky reads ‘TRISTAN v CHRISTANN - The Battle of Trafalgar - Summer 2016’
*...You may think 2016 is in the past - how does that fit into the fashion calendar always so concerned with the future! And yet it was a historic year indeed and Tristan's department for propaganda is in full swing to prove it.
Coats & capes from the current collection which will be featured in the film, as well as for the following winter collection to be presented in June 2020. The credit is valid until June 2021.
Items are made to measure and can be ordered at any time. A few appointments will be necessary (1) to take measures, (2) to fit a sample piece for fine-adjustments (3) to deliver the finished garment. All this can happen anywhere in and around London, for distance sales the postage is to be paid separately.
OTHER WAYS TO SUPPORT THE PROJECT
Risks and challenges
The usual risks when jumping from 150ft columns…Learn about accountability on Kickstarter
- (10 days)