Wells Theory of Animation

As my present knowledge, practise and understanding of animation and experimental film grows, so do my ideas and appreciation of it. There are certain elements of avant-garde films I consider myself to appreciate the most. The idea of the literal use of material objects to inevitably create multiple interpretations. I think the poetic relationship between image and sound that experimental film dictates is beautiful. The untied opportunity to ‘experiment’ with multiple styles, continuously enabling new opportunity and growth in the art has me perfectly enthused. I think the idea of presence of the artist is interesting in relation to experimental art.
I do also appreciate the orthodox more structured styles of animation. Simply due to the fact that I believe it has been beneficial for the world in that the art has brought so much joy and entertainment to such a broad range of audiences for multiple generations.
Wells theories I am fascinated by and certainly agree with. I cannot deny my restored and growing appreciation for the art. As mentioned in my previous blogs, I still have that barrier withholding my complete acceptance of experimental works. The voice in the back of my head basically saying that abstract art has no sense or meaning, the classic ‘I could have painted Picasso in kindergarten’ idea (by the way has anyone seen the documentary ‘My Kid Could Paint That’?) However being myself and not my dad I am continuously striving to question my thoughts and listen to alternate ideas to grow and not be stuck on one set of ideals. I want to always be shaping myself as a person to gain the best understanding of myself and therefore the world around that I can. So I feel it best to not deny my past and current ideals (because they will be beneficial to my own artistic storytelling as they are a part of who I am), but to embrace the open-minded side of mine to further allow myself a new understanding of something I’m forever growing to perceive as a beautiful art form (if I weren’t to embrace that I would be none the wiser).
Wells noted on page 45, “... colours, shapes and textures evoke certain moods and ideas...these aspects should give pleasure in their own right without having to be attached to a specific meaning...” This statement and the understanding I’ve gained from my practise in experimental animation further confirm my love for the art. The visual sound and diverse interpretations that can be generated from the literal flow materials an artist makes rhythm of on film is something beautiful.
Things that stood out to me:
The evolution of materiality in experimental – I love that one material may mean whatever the artist interprets it as and that the audience may gain an entirely different message again.
For example in the dark room my necklace to me represented genes in the development of growing life, and this story can be gather by combining the materials surrounding it to tell that story. I am intrigued to hear what other people concluded from what we create.

I love the concept of the rhythm of experimental animation being a Visual sound. Though Wells noted the importance of a musical relation in experimental, I like to think about the actual concept of it creating its own visual sound, as Stan Brakhage demonstrates by excluding sound from his projects entirely and letting the visual alone predict the music.

I love in the simplest manner that experimental allows the artist to be exactly that, experimental, “... to challenge and rework orthodox codes and conventions and create new effects” (Wells reading, pg 45).