The Garden (21st Century Amateur Film)

Copyright © 1992, 1996 Tamás Waliczky, Anna Szepesi
Source: Copyright © 1992, 1996 Tamás Waliczky, Anna Szepesi

Tamas Waliczky

The Garden (21st Century Amateur Film) , ongoing
Co-workers & Funding
Storyboard: Tamás Waliczky and Anna Szepesi.

Music written by Tibor Szemzö, performed by Éva Posvanecz.

Software support: Imre Kováts, Zoltán Császár, Pierre Dinouard, Thomas Krol.

Child: Annamária Waliczky.

Director of photography: György Pálos.

Directed and animated: Tamás Waliczky.

Produced by: Wallada Bioscop Ltd., Budapest; Zentrum für Kunst und Medientechnologie, Karlsruhe; CIRAD Laboratoire du Modellisation, Montpellier.

Copyright © 1992, 1996 Tamás Waliczky, Anna Szepesi
Documents
  • The Garden (21st Century Amateur Film)
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  • The Garden (21st Century Amateur Film)
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  • The Garden (21st Century Amateur Film)
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  • The Garden at Leeds
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  • The Garden at Ludwig Museum
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  • The Garden at Ludwig Museum
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  • The Garden at ZKM
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  • The Garden at NTT/ICC
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Description
In 1991 Waliczky wrote the script for THE GARDEN, an animation based on an idea which came from an old piece of Super-8 film, made over ten years before, showing a little girl playing in a country garden. The artist's aim was to portray the alertness and curiosity of a small child investigating its surroundings, and to evoke the particular sense of affection that children often inspire in us. To illustrate these lines of force, Waliczky devised a new type of perspective, the "waterdrop-perspective-system". The conventional notion of perspective, dating from the Renaissance, privileges the viewer as the person for whose benefit the depiction of the world unfolds and whose gaze completes the image; the stability of his or her position is mirrored by the fixed vanishing point. "Waterdrop-perspective" is a quite different principle which structures every object from the vantage point of the child within the space of the image: the objects grow or shrink as the approaches them or moves away. Thus everything in the space becomes visually distorted; the world is seen as a sphere and the child as its centre. In other words, the depicted world is the child's own private universe; shaped entirely by the child's movements, it is independent of the viewer who stands outside it and sees the dream of another.
Keywords
  • aesthetics
    • animated
  • genres
    • digital animation
    • installations
Technology & Material
Bibliography