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Jacco Olivier
The Netherlands

Animacja Comfort rzuca światło na warsztat pracy Jacco Oliviera. Historią,o której myślał początkowo jest otwarta na pomysły, które pojawiają się w trakcie procesu twórczego. W ten sposób animacja może ostatecznie osadzać się na różnych wątkach. Różne linie splatają się razem dzięki rytmowi wyobraźni: od czerwonego ogona Boeinga poprzez czerwone logo Vodafone, a skończywszy na dzwoniącym czerwonym telefonie. Animacja wydaje się też analizować samą siebie, gdy kamera niespodziewanie zagłębia się w warstwy obrazu i obiera je, jedną po drugiej, by znowu znaleźć się w warstwie zewnętrznej. Wątek opowieści podejmowany jest bez trudu na nowo. W przeciwieństwie do tego, co sugeruje tytuł pracy, dominuje w niej atmosfera strachu i ucisku.

The animation Comfort sheds light on the way Jacco Olivier works. The story that he originally has in mind is open to ideas that emerge during the creation process. In this way, an animation can eventually be built up out of various story lines. The various lines are woven together by rhyming imagery: from the red tail of a stationary Boeing, to the red Vodafone logo, and from there to a ringing red telephone. The animation also appears to be examining itself, when the camera suddenly dives into the deep and peels away the layers of a painting one by one, only to remerge at the top layer. Effortlessly the thread of the story is picked up again. In contrast to what the title suggests, an atmosphere of fear and oppression predominates in this work.

Jacco Olivier

Jacco Olivier links painting with moving images in his animations. It looks as though he submits his paintings to a meticulous examination. Sometimes he delves deeply into a painting and peels off layer after layer. At such moments, strokes, lines, dots and fields determine the image. When he zooms out, a recognizable reality reappears. The stories are often about informal situations: a polar bear swimming, a frog crossing a road, a mother hugging her child closely to her, or a field being searched for a body. The artist depicts these situations in swift strokes of the brush, allowing colours to fade and blend together. The videos do not tell us unambiguous stories, nor do they follow the lines of a storyboard, but rather develop in the same way as a painting. A sense of unease and tension predominates in the stories. As if something could happen at any time, but the decisive moment never comes. Jacco Olivier serves up a number of ingredients that act as kinds of clues to a possible story. The artist partly makes use of a traditional animation technique. He paints a scene in either acrylic or oil paint, makes a photo of it, then paints over the scene again and takes another photo. This procedure is repeated until the whole story has been told. Olivier changes the standpoint of the camera when he takes photos of his paintings, and uses computer software to bring layers into the images. His videos have the characteristic jerkiness of old-fashioned animations. The sound is a translation of what is happening in the story: birds flapping their wings, bells ringing, the wind blowing. Sometimes the sound does not run synchronously with the action: the phone rings or the stairs creak before this even comes into the picture. Omens of disaster.