Edge of Frame: Material Fragments

Still from For All Audiences (2018) by Josh Weissbach

Edge of Frame: Material Fragments
Curated by Edwin Rostron
Close-Up, Sunday 9th December 6:00pm
Book Tickets 

Edge of Frame presents a programme of experimental animation featuring a variety of approaches to collage and cut-out animation. Materials such as clothing, found photographs, books, maps, plants and offcuts of film footage are recontextualised and seen anew through tactile processes of animation, sometimes combining with drawing and painting, to reveal hidden stories, new connections and dazzling patterns. Dating from 1959 to 2018, these works forefront the surfaces and physicality of the materials in front of (and sometimes within) the camera, yet take us into the speculative zones of the imagination, unlocking memories, reveries and dreams, from the highly personal to the purely abstract.


For All Audiences (Josh Weissbach, USA)
A trailer of an experiment searches for meaning in a mouldy montage. The detritus of the movie industry swims in organic material. Emulsion and its cracks, its crumbles, and its fades. Is it ready for all the audiences?
2’36, 2018

Giardini (Gardens) (Ira Vicari, France)
Thinking about the gardens I’ve been in.
2’01, 2018

Winners Bitch (Sam Gurry, USA)
Inspired by a found archive on a doyenne of the dog competition world, Sam Gurry’s animated documentary is a visually kinetic rumination on the many sacrifices it can take to be a woman of distinction.
7’00, 2018

Vera (Karen Yasinsky, USA)
Vera is a character created over the time of animating the cobweb and thinking about Bix Beiderbecke’s song, Mississippi Mud. Additional music by Andrew Bernstein; with Gillian Waldo.
6’51, 2017

Black Long Skirt (Hoji Tsuchiya, Japan)
A woman passes through the body of a man on a day when it is about to rain.
8’57, 2010

Mom’s Clothes (Jordan Wong, USA)
“A nonfiction reflection on being out of the closet. As a queer person of color, it’s taken me a long time to be as comfortable as I am through navigating forms of intimacy, gender, and self worth. It doesn’t always get better, but you’re beautiful however you decide to present, including the choice of garments you decide to wear.”
5’37, 2018

Miroir dans un pré (A mirror in the grass) (Ira Vicari, France)
Sun was beating, I saw myself in a mirror. Post-production: Atelier 105.
2’42, 2017

Look and Learn (Janie Geiser, USA)
Look and Learn excavates the visual vocabulary we use to operate and construct the daily world. It explores the juxtaposition of two material image forms: visual instructions (assembly guides, photography manuals, maps, diagrams) and photographs – mainly a set of several 1950’s era elementary school group photographs.The visual instructions mimic maps in their hope of directing us to something, or somewhere, perhaps to a better understanding of our world and how things work.
11’15, 2017

Eyewash (Robert Breer, USA)
Organised confusion of live footage and animation. Colour of original added to by hand on each print.
3’00, 1959, 16mm

Odds and Ends (Jane Conger Belson Shimane, USA)
Made from discarded footage from a local film lab and Shimane’s own animation sequences, using direct, painted-on-film techniques and stop-motion animation using cut-out paper. Upon the film winning the 1960 Creative Film Award, Shimane is said to have commented, “I just got high and put it together.”
4’00, 1959, 16mm

Speak (John Latham, UK)
“(Latham’s) second attack on the cinema. Not since Len Lye’s films in the thirties has England produced such a brilliant example of animated abstraction. SPEAK burns its way directly into the brain. It is one of the few films about which it can truly be said, “it will live in your mind”.” – Raymond Durgnat.
10’00, 1962, 16mm

Still from Giardini (Gardens) (2018) by Ira Vicari

Material Fragments is one of three programmes curated by Edge of Frame for London International Animation Festival 2018, taking place at venues across London from 30 November to 9 December.