2017 Finalists

ORIGINOFTHE.NET (2017)

Amanda Low

ORIGINOFTHE.NET (2017) - Website

Those who use the internet daily often take it for granted, without fully understanding the histories that led to the creation of this tool that is such a familiar part of our lives. ORIGINOFTHE.NET is a mythic retelling of the history of the internet, bringing attention to the lesser known vestiges of the World Wide Web. Inspired by classic text-based role-playing games, the interactive website leads the user like a tourist through its bowels, showcasing artifacts from internet history on its web pages. By allowing the user to influence its narrative by choosing between hyperlinks, this work replicates the experience of navigating online space within an experimental form of storytelling.

Amanda Low is a recent OCAD University graduate who plays with medium-specific narratives and storytelling through both traditional and non-traditional animation. Currently, her practice deals with web art and the browser as a medium. She is interested in the behaviors, tropes and memes of internet culture, and often uses found content in her web pieces sourced from various social media outlets. When she is not making web art, Amanda Low is also an aspiring animator.

AEIUO (2017)

Fanny Huard

AEIUO (2017) - Animation, 5:24

AEIUO aims to question the relationship between sound and image, asking: is it possible to visually evoke a sound without using a soundtrack?

In graphic design, the sound component often comes at the end of the creative process after one has created animations in complete silence. AEIUO works oppositely, starting from sounds in order to create images. The goal is to make the viewer hear sounds through a series of silent images, specifically in the format of the animated GIF. Inspired by the graphics and gridlines of comic books, AEIUO speaks to how digital tools have allowed us to animate our daily lives—for example, in the speech bubbles of instant messenger.

The project’s starting point is Arthur Rimbaud's poem “Voyelles”: “A black, E white, I red, U green, O blue: vowels, I shall tell, one day, of your mysterious origins.” The poem reveals a particular case of synesthesia, the neurological phenomenon by which multiple senses connect. As Claude Lévi-Strauss points out in Look, Listen, Read (1993), Rimbaud facilitates a fusion of sounds and colors in his poem. Drawing from Rimbaud and Levi-Strauss, AEIUO plays with this form of synesthesia through acts of reading, onomatopoeia, movement, anticipation, and sonic symbols such as the atomic bomb – a visual that bears increased significance in today’s political climate.

Fanny Huard graduated in graphic design from the Université du Québec à Montréal where she specialized in animation. Her work explores movement and the relationship between sound and image via animated GIFs. Like silent films, this animation format intended for the web has the particularity of being mute. The spectator has to imagine the sound as they watch the images pass before their eyes. The GIF is also used as a support for observation and analysis, as one animation can be looped forever. Inspired by comics, Huard’s work depicts a noisy and colourful world, in perpetual movement.

Continuous Resistance Remix (2013)

Fallon Simard

Continuous Resistance Remix (2013) - Video, 5:10

Continuous Resistance Remix takes thirty YouTube mp4s that examine residential schools through personal interviews and black and white propaganda films, resource blockades by Elsipogtog youth, Idle No More footage from Couchiching First Nation, and forest fires started from resource extraction sites and finally, remixes the image and audio into a five-minute short video. The structure of the video adds to the continuous temporality of state violence perpetuated onto Indigenous bodies. It does so by pairing 2015 Elsipogtog film frames next to 1918 Canadian Residential School propaganda film footage. Elsipogtog illustrates youth and elders lining up against a human blockade comprised of the Canadian military who were using excessive force, and the propaganda video illustrates Priests cutting Indigenous children’s hair in black and white. The film looks at the different forms state violence manifest within a colonial, patriarchal, and heteronormative government that occupies Indigenous land. By remixing communities from east to west together, we see the struggles and strengths of Indigenous communities as they continue to fight for their land, rights, and self-determination.

Fallon Simard is an Anishinabe artist and filmmaker from Couchiching First Nation, in Treaty #3 Territory. They are a gender non-confirming interdisciplinary artist. Their work examines state violence perpetuated on to Indigenous bodies within a context of colonialism. Their work looks at intersections of land, extraction, mental health, and violence. Fallon is a recent graduate of OCADU's Interdisciplinary Masters of Arts, Media, and Design and recently screened videos at Trinity Square Video’s Themed Commission, “The Moving Copy.”

Sometimes the wind in the cloud, when it is being secreted (2017)

Micaela González

Sometimes the wind in the cloud, when it is being secreted (2017) - Digital animation, 06:13

Sometimes the wind in the cloud, when it is being secreted is a female portrait in motion and an exercise and reflection in time.

The digital age has influenced our perception and expectations of time; we have a mediated experience of daily events. Personal technologies demand immediacy, and attention spans shorten to accommodate the fast pace of digital life. In this context, the passing of time is perceived by the mind, but not fully experienced by the body, resulting in an accelerated process of memory reconstruction and a loss of consciousness of change over time. Sometimes the wind in the cloud, when it is being secreted proposes the deceleration of time, and challenges the viewer to be patient, feeling the seconds pass in order to discover the work’s subtle evolution.

Micaela González is a painter and media artist based in Toronto. With an intuitive approach, González explores narrative composition through a language of fragments and reconstruction. Her practice investigates the concept of space-time as a psychic and bodily transformation, and considers how perception shapes human experience in the contemporary context. González holds a BFA in Film Production and Cinema Studies from the University of Buenos Aires, and was finalist in the international painting competition, the Celeste Prize, in 2014. She has exhibited her work in Toronto, Buenos Aires, and Milan.

Puntito_visual (2016)

Pipo Pierre-Louis

Puntito_visual (2016) - Animation, 06:32

The point is a small world in itself – more or less isolated from all sides and almost torn off from its surroundings. The integration to its surroundings is minimal and seems nonexistent...
Kandinsky

Named after the Spanish diminutive of the word point, Puntito_visual is a form study aimed at the creation of an audiovisual language capable of communicating social experiences and personal observations on individuality. Through the use of familiar visual metaphors that evoke the place of the individual in our culture, this piece tries to grasp the subtle and intuitive meaning of individuality as a social phenomenon. Using figures such as the circle, the point, and the sphere, Puntito_visual uses an abstract language charged with social meanings and symbols to reveal the poetics of the overlooked in society.

Pipo Pierre-Louis is a sound, video, and new media artist born in Quito, Ecuador and established in Montreal, Canada. Directly influenced by an array of different cultures and a variety of academic disciplines since his early life, he creates new media art, music and sound-based compositions, and performances shaped by rich personal experiences. His artistic practice focuses on producing visual imprints of modernism that speak to contemporary social behaviors and environmental activism, using technological media as a form of translation. He is presently undertaking a master’s degree in electroacoustic composition under the direction of Jean Piché and Nicolas Bernier at the Université de Montréal.