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Rafaël Rozendaal is a Netherlands-based artist who creates exceptional work; his art arouses that of computer art, cyberspace, and other forms that defy classification. His art is verily digital: Rozendaal also has created a number of concept-computer art websites. Part of Rozendaal’s work is computer-generated animations, and his animations are way good, and he has made many. I currently am running one of Rafaël’s screensavers — you should too — check them out here. Also of note, Rozendaal is currently selling signed prints of his “Dollar Poster” painting. Also of note: Rozendaal, inside of his mouth on the inner lip, has a tattoo that reads “internet.” He loves the internet (don’t we all?).

One of those websites is Rozendaal’s One Question Interview, a blog where Rozendaal interviews great artists, artists of all mediums, asking them just one question.

dinca.org decided to turn the table on Rafaël — do the olde tyme switcheroo — asking Rafaël just one question.

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Max Hattler, 2005, U.K. & Germany, 2 min, color

Collision is a short, award-winning animation from Max Hattler, a London-and-Germany-based animator and artist, whose work we have blogged before, e.g., 1) 1923 (2010), and 2) Live A/V Performance by Max Hattler & Noriko Okaku.  Hattler’s minimalist approach to graphical forms, pattern, and the RGB color palette are bright.

Collision deploys a deft arsenal of shapes on path, stars-and-kaliedoscope-striping geometry, with textures and forms culled from the ensigns of Americana and Islamism. Animators crackle and explode; pattern and cadence enkindle war paradoxes between the U.S. Government, the special interests of the U.S. Gov. (some say Israel), and their Islamic adversaries. The sound design is slick and significant, and this crackle-crisp sound imbues extrasensory depth, while punctuating the graphic.

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Video art from the early ’80s – an ocean of technicolored bits + shapes.  Plenty of rainbow gradients and tracer images.  A fun ride.

Video by G.G. Aries
Edited by: G.G. Aries & Mark Allen
Music by: Larry Gibbs from California Images

A film by Storm De Hirsch, 1965, 8 mins, 8mm

Filmmakers never have a valid excuse not to make films — you don’t even need a camera to make a film — nor a computer.  Storm De Hirsch, a film avant-gardener of the ’60s, didn’t have a camera — she definitely didn’t have a computer — all she had was old, unused film stock and a few rolls of 16mm sound tape.  Throwing aside the animation conventions of the ’60s (usually frame-by-frame photography of drawings on paper or transparencies), De Hirsch successfully created a trilogy of films by painting directly on old film stock, cutting, and etching the (more…)

A trail-blazer in the American Avant-Garde film movement, Portland-based Harry Smith (1923-1991) preferred to label himself a painter, yet he his widely known for his wild-minded experimental films.

At a young age, Smith grew fascinated with unorthodox spirituality and occultism, a certain influence and inspiration in his work — colorful; mystical; dada; cosmic; prophetic; alchemic — Harry Smith’s art: heavy symbolism. It cannot be described in many other ways. Read m0re 0n Harry Smith here.

Harry Smith Artwork & Film Stills

Harry Smith Animations

Mirror Animations (1950) #4

No. 5: Circular Tensions, Homage to Oskar Fischinger (1950)

No. 7: Color Study (1952)

More on Harry Smith:

Alchemical Transformations: The Abstract Films of Harry Smith

The Harry Smith Archives