Indiegogo Campaign for Toronto Alice

http://www.indiegogo.com/projects/toronto-alice/x/6519608

  • Are you a fan of the funny — and slightly creepy — animations of Terry Gilliam? Or perhaps you’re more of a devotee of Surrealist animation from Poland? Or maybe you just enjoy weird, off-the-beaten-path stuff? If you answered “yes” to any of these (or, like me, to all three), then you’ll probably enjoy the unique style of cutout animation I create at Papercut Pictures.
  • My name is Jennifer Linton, and Papercut Pictures is my production company. I’m an interdisciplinary visual artist working with animation, installation, drawing and printmaking. I have exhibited my art for the past 20 years in galleries across Canada, and internationally with exhibitions in the U.S. and Italy. My animated films have screened at festivals such as Animaldiçoados Film Festival 2012 in Rio de Janeiro, Brazil, the Toronto Animated Image Society (TAIS) Showcase 2013, and the Boston Underground Film Festival 2014. I’ve received numerous awards and grants from the Canada Council for the Arts, the Ontario Arts Council, and the Toronto Arts Council.
  • This campaign is to raise funds for my next animation project, entitled Toronto Alice. The character of Alice from Lewis Carroll’s famous children’s novels is transported to contemporary Toronto where, like many native Torontonians, she takes a ride on the streetcar. As with many trips on the public transit, she encounters a succession of strange characters who engage her in (equally strange) conversations. The dialogue is borrowed directly from Through the Looking-Glass, but given a fresh & funny new twist in this stop-motion animation.

What We Need & What You Get

  • I will create all of the visuals for this film: the artwork, the puppets, and the backgrounds. I will also handle all of the stop-motion animation. What I need help with is the audio component — and that’s where YOU come in!
  • I need three separate audio components for this project: musical treatments, ambient background sound fx, and voice actors. While I can handle all the visual stuff, I need to call in the professionals to create good quality recordings of ambient sound. Animation takes a great deal of effort and a very long time to create, so you don’t want great visuals to be undermined by inferior audio.
  • Listening to my voiceover in the pitch video should prove, without a doubt, that I should never, ever do voiceover work! Your contributions will allow me to leave this important task to the professionals!
  • I’m offering a range of “perks” to sweeten the deal, from DVDs to paper dolls to original, framed artwork! It’s win-win! You help me make this project the best it can be AND you get limited edition art in return!

Why contribute?

  • You’re a fan of animation. Specifically, you enjoy independent animation that advances the art form, or that simply stands out as different from everything else. There aren’t many animators out there working with paper cutouts and stop-motion. What I do is very boutique and kinda retro. Different is good.
  • You’re Canadian, or you have an uncle who lives in Canada (hey, maybe I know him). No, seriously. It’s good to see your own stories up there on the (big or small) screen. We gotta represent. I don’t know about you, but I’ve always wanted to see Alice wearing a Hudson’s Bay coat.
  • You’re a fan of Lewis Carroll and his Alice novels. There’s a timelessness and universality about Carroll’s characters that allow us to visit and revisit this wonderful material. Young and old, we all love to slip into Wonderland.
  •  You want that swag. A custom Toronto Alice jointed paper doll? Sweet.

Other Ways You Can Help

Spread the word!

  • Like what you see? Help get the word out by using the Indiegogo share tools! It’s good karma.

http://www.indiegogo.com/projects/705357/wdgi/6519608

“Blueprints”, group show at Centre 3

Centre 3 for Print and Media Arts

blueprints

My installation The Disobedient Dollhouse will be featured in the curated group show Blueprints at Hamilton’s  Centre 3 for Print and Media Arts. This exhibition will also screen my two recent animated videos Domestikia: The Incident in the Nursery and Domestikia, Chapter 3, La Petite Mort. Show runs from January 17 – March 1, 2014. The opening reception will take place Friday, February 14 at 7 – 10 p.m.

“My Alphabet Of Anxieties & Desires” — Christmas book sale!

Just in time for Christmas: My Alphabet Of Anxieties & Desires depicts all twenty-six letters of the Roman alphabet in original, highly-rendered illustrations. While based on the format of a child’s alphabet book, this book is most assuredly for adults. If you prefer a book that you can actually touch, then you’ll appreciate the high-quality paper and printing. Ships directly to your doorstep, no matter where you are. Sweet.

The book is 40 full-colour pages, printed on a premium matte paper with a perfect-bound softcover. There’s a short preface written by myself, and a thought-provoking foreword by Judith Mintz.

Giant insects swarm the Art Gallery of Peterborough!

Quick and dirty snapshot of the installation in-progress.

My installation The Disobedient Dollhouse will pay a visit to the Art Gallery of Peterborough, starting this month. This exhibition will also screen my 2-minute stop-motion animation Domestikia: The Incident in the Nursery. Exhibition runs from November 9 – January 6, 2013. The opening reception will take place Friday November 16, 7 – 9 pm. Visit the web site of the AGP for details and/or directions.

“Domestikia, Chapter 3: The Little Death”: I had a dream like that once…

Trying different heads.

One of the activities that keeps me busy these days — other than teaching, of course — is applying to grant programs. This is a long, tedious, and painful process that I submit to only grudgingly. It’s also, unfortunately, a necessary one. As part of the application process, I’ve been forced to cobble together a storyboard for my proposed animation project. This is yet another ‘necessary task’ that I perform grudgingly — being a naturally lazy creature, I’ve never done one before — though the benefits of having a storyboard are immediate and the process certainly worthwhile.

I don’t want to reveal all of my storyboard just yet, but here’s a sneak peak. Below the storyboard sample is my artist’s statement/project proposal, which might prove insightful to those of you who follow the development of my animations.

My current series of stop-motion animations entitled Domestikia developed directly out of a previous sculptural-installation project, in which I constructed a three-dimensional dollhouse from paper and lithographic prints. This project, entitled The Disobedient Dollhouse, employed the setting of a Victorian-themed dollhouse as a means to critique the sentimentality of nostalgia, as well as the tiny, precious model of perfect domesticity that the dollhouse itself proposes. A dollhouse is a gendered space, one specifically codified as feminine – it is therefore a highly suitable space in which to focus attention on women’s roles within the home. Furthermore, the strange, hybrid creatures and giant insects that populated my Dollhouse hinted at a dark, secret fantasy world churning just beneath the veneer of domestic perfection.

As previously stated, the Domestikia animation series began as an expansion of the narratives that originally appeared in The Disobedient Dollhouse project. For instance, the bird-headed children and Nanny (a self-portrait) featured in Domestikia: The Incident in the Nursery first existed as a paper diorama inside The Disobedient Dollhouse. The medium of stop-motion animation enabled me to — quite literally — bring that nursery scene alive. In addition to the scenes and narratives, the look and style of my Dollhouse has also carried over into my animations. Like the hand-drawn lithographs I created for the Dollhouse, the paper cutouts and articulated paper puppets from Domestikia possess the same grainy, textured quality of the lithographic crayon.

Similar to the other Domestikia films, the proposed project Domestikia, Chapter 3: The Little Death will employ the technique known as ‘cutout animation’, one of the earliest forms of stop-motion that uses flat characters and backgrounds cut from paper. The technical limitations of paper puppets, with their characteristically stiff and unnatural movements, make cutout animation particularly well suited to animations whose themes involve fantasy, surrealism, dreams, and that which otherwise lacks realism. Rather than being a technical limitation, the anti-realism of the paper cutout serves to amplify the strangeness of the events that happen throughout Domestikia – which is precisely why I’ve chosen to work with this technique. In Domestikia, Chapter 3: The Little Death, my plan is to further expand the technical and aesthetic possibilities of the paper cutout.

The storyline of Domestikia traces a series of strange, otherworldly events that take place within an imaginary dollhouse. The connecting thread between each narrative is the continual appearance of a butterfly, a creature that acts as a sort of ‘agent of chaos’, disrupting the daily domestic routines of the miniature household. In Domestikia, Chapter 6: An Unfortunate Incident Involving Her Hat, the appearance of the butterfly in the opening scene foreshadows the strangeness of subsequent events, in which the morning routine of dressing goes terribly wrong when a hat decides to grow out of control. The butterfly departs the scene, and in Domestikia: The Incident in the Nursery, it appears once more to disrupt the daily proceedings – this time, rousing an infant recently rocked to sleep by the Nanny, creating a cacophony of screams. The butterfly is once again featured in my proposed project, entitled Domestikia, Chapter 3: The Little Death. In this latest installment of the Domestikia series, the ‘little death’ of the title refers simultaneously to the metamorphosis process of the butterfly, as well as to ‘la petite mort’ of orgasm, as the butterfly is shown to have originated from an amorous encounter between Madelaine and her octopod lover. The ‘little death’ also refers to the literal building up, and subsequent dismantling of the Madelaine paper puppet when she is ‘lovingly dismembered’ by the octopus. Ostensibly, Domestikia, Chapter 3 is about shifts in identity that occur as one’s role in life changes: from individual, to couple, to parent. In short, sometimes it is necessary to ‘die’ in order to reinvent oneself.

Backyard: a fearonrevell project

I have created a site-specific sculpture for the upcoming group exhibition Backyard, curated by Elizabeth Fearon. The concept for the show is simple and clever: site-specific work in the backyard of her own home. There’s an impressive roster of participants, so it promises to be a good show. Here’s all the details:

My site-specific installation for the group exhibition “Backyard.” Jennifer Linton, “Lawn Shadows”, 2012, wood, paint, copper pipe, electrical tape.

Backyard: a fearonrevell project

Site-specific installations will be created for our backyard by:

Myfanwy Ashmore
Mark Connery
Marie de Sousa
Elizabeth Fearon
Michelle Johnson
Jennifer Linton
Tanya Read
Rupen
Fiona Smyth
Julie Voyce
Natalie Majaba Waldburger

The show will run from the 4th of Aug. (Opening reception: 2-6pm) until the 26th of August. The backyard will be open to the public from 1 to 6, Wednesday through Sunday.

Location: 85 Carlaw Ave. Toronto

For more information call 416 654 3232

“Domestikia: An Account of Some Strange Disturbances” begins February 24th, 2012.

"The Brood" (2012) by Jennifer Linton. Work-in-progress photograph of a shadowbox assemblage, which includes hand-coloured lithographs that are cut out and pasted into paper dolls.

If you live in the Toronto area, then drop by Open Studio to view some of my recent creative efforts. My latest exhibition “Domestikia: An Account of Some Strange Disturbances” is an exploration into the interdisciplinary possibilities of printmaking. I’ve created articulated paper puppets from lithographic prints, which are then arranged into strange, dream-like shadow box tableaux. These same paper puppets are brought to life in a stop-motion animation, all taking place within an imagined dollhouse.

Opening reception is Friday, February 24th at 6:30 – 8:30 p.m. Join me for wine, conversation and general frivolity. Show runs from February 24 – March 31, 2012. Open Studio is located on the ground floor of 401 Richmond, at the corner of Richmond and Spadina in Toronto. For more information on this show, visit the Open Studio web site.

Cannibals, werewolves and tentacles: The web searches that bring you here.

Blog statistics are a fascinating gateway into the collective unconscious. While the identities of those who’ve visited my blog remain anonymous, their mouse clicks remain on record and provide an insight into the topics that interest them most. What occupies people’s thoughts during those moments of procrastination when they are not writing that report for their boss or essay for that class? Cannibals, apparently. More specifically, Ruggero Deodato’s 1980 horror film Cannibal Holocaust, a film that’s still considered controversial after 32 years and, likely due to its continued notoriety, received the most “hits” on my blog. If they’re not seeking information on cannibal films, people are looking into the Canadian teenage werewolves of Ginger Snaps which, as far as I’m concerned, is a much better use of their time.

Periodically, I will write about topics other than horror films, though these topics are as equally strange and macabre. Heinrich Hoffmann’s darkly comedic children’s book Der Struwwelpeter (1845) has garnered a great deal of interest on my blog, as well as the eroticized anatomical art of Jacques D’Agoty and anatomists of the 18th-century. The mythological vagina dentata and Japanese ‘tentacle erotica’ draw a fair amount of interest, as one might expect.

Celebrities and famous artists predictably top my statistics tally. People have searched on marquee names from art history including Marcel Duchamp, Max Ernst, Odilon Redon, and Hannah Wilke (though the latter is lesser known), as well as contemporary visual artists Loretta Lux, Marcel Dzama and Shary Boyle. And, 45 years after her death, Jayne Mansfield still attracts a large amount of attention. I only wrote about her in a post last week, and she’s #22 on the list of “all-time” top searches. Of course, her story is a ‘perfect storm’ for achieving immortality on the Internet: a beautiful, buxom starlet, who reportedly dabbled in Satanism, died young and in most grisly manner (depending on which account you read, she was either scalped or decapitated in a car accident). We are, as a species, a ghoulish bunch.

Here’s the top 30 searches, according to WordPress:

cannibal holocaust 577
ginger snaps 287
holocaust 279
struwwelpeter 253
loretta lux 247
odilon redon 246
max ernst 246
vagina dentata 184
daguerreotype 123
tentacle erotica 109
cannibal 97
jennifer linton alphabet series 94
walerian borowczyk 91
max ernst collage 84
der struwwelpeter 78
hannah wilke 70
contes immoraux 67
drag me to hell 56
agoty angel 49
anatomical art 46
jayne mansfield 45
marcel dzama 43
the descent 40
macabre art 37
drag me to hell old lady 37
best animated movies of all time………… 33
holocaust pictures 33
redon 33
irreversible 28

Now, get back to work…

p.s. One of the funniest web searches I’ve seen to date would be this one: “horror movie with a women who seducing and kill men with her vagina.” Hey, who am I to judge? Incidentally, there is such a film — not surprisingly, it’s Japanese and called Killer Pussy. You’re welcome.