Bring Every Nuance to Fidelity

Eva Papamargarit

Papamargariti creates an artificial landscape made of Adobe Stock’s organic 3D objects.

JB Dunckel – Love Machine

Video by Eva Papamargariti

Song by Acid Baby Jesus

Recorded & mixed by Nikos Lavdas

“The digit is both the number and the finger.”

“Spineless and Sublime”
2021, HD video, color, sound, 4’40”
created by Eva Papamargariti

WK — Five Themes — MOMA

William Kentridge
in this interactive web site visitors can explore the five major themes in his work and see six new videos that include the artist’s commentary. 

William Kentridge once again, i found more resources of his works in this interactive web that shows most of the films that i was very interested in, here i can also listen to his commentary on his works. This is a site that i will be revisiting again and again.

Here i realised his importance and his awareness on the political issue that he tried to convey; the ominous monochrome vibe; the traces of the past and each movement of his patient processes; and sometimes Franz Kafka’s surrealistic imageries…

His charcoal drawings and print-makings remind me of these two german artists of the Die Brücke: Käthe Kollwitz, 1867-1945, and Erich Heckel, 1883-1970. their shared black + white and heavy expressions of the character. In many cultures, these two non-colours are associated with life and death rituals. what is the significance of these: Black is associated with power, fear, mystery, strength, authority, elegance, formality, death, evil, and aggression, authority, rebellion, and sophistication. Black is required for all other colours to have depth and variation of hue. … The colour black represents strength, seriousness, power, and authority.

Kathe Kollwitz – Memorial for Karl Liebknecht
Erich Heckel – Stralsund


Eager /adj/
having or showing keen interest or intense desire or impatient expectancy

Allison Schulnik uses painting, ceramics, and hand-made, traditional animation to choreograph her subjects in compositions that embody a spirit of the macabre(theme of death), her works were compared to “the comic-grotesque visionary James Ensor” by The New York Times.

+ i love allison schulnik’s painting/ sculpture from a long time, and of course her stop motion movies, and i rewatch this film and was so immersive and enjoyed every frame of a beautiful painterly impasto composition+painting with nuance. she creates her signature world that i desire to live in…

“My fixation on these characters is not intended to exploit deficiencies, but to find valor in adversity.” 


this is a project inspired by her… i also made a mermaid short stopmotion video but that was pretty DIY… this one too, i yet don’t know what message were i thinking to tell or express but i enjoyed dissecting and amputating a barbie toy and making a character of it

emma x zhang


MOTH is a traditionally animated, hand painted, gouache-on-paper film. It is animated mostly straight-ahead, with frames painted on paper almost daily for 14 months. The film seeded and bloomed from the simple act of a moth hitting my studio window and continues as a wandering through the primal emotions of birth, motherhood, body, nature, metamorphosis and dance.

Allison Schulnik 2019

+ pure enjoyment of paintings in actions, transforming aesthetic into a duration of movements and changing states

Sun Xun

Newspaper Paintings,2015–2018. Installation view, Museum of Contemporary Art Australia, Sydney, 2018. Ink and colour on newspaper.

Sun Xun (born 1980) is one of China’s most exciting young artists, best known for his animations made up of thousands of ink paintings, charcoal drawings and woodcuts. Containing very little dialogue, these hand-made films use combinations of image, sound and text to raise questions about what we perceive as truth and explore the slippery dynamics of memory, history, culture and politics.

+ i think i should look into more contemporary chinese artists and explore the differences and significance in modern art of my own origin

Moving Charcoal Drawings

9 Drawings for Projection, 2005

“In considering the concept of the static drawing being animated or passing over into “another state”, William Kentridge’s animated drawings from the 1970s are still representing the type of crossover now possible, in fact inevitable, between drawings, etchings, animation and sculpture. Since 1989, he has created series of charcoal drawings towards animated films known as Drawings for Projection.

These ten short animated films—made over a period of more than 20 years—are intimate, personal meditations by Kentridge that resonate with the recent turbulent history of South Africa. “The distinctive animation technique used by Kentridge, in which he draws, erases and redraws parts of his charcoal sketches over and over, allows traces of the past to remain visible in the present. This technique also reveals the importance of remembering—and forgetting—in the work of Kentridge.”——

In terms of Kentridge’s performed drawings in conjunction with animation, Anne Rutherford (2013) writes that:

For Kentridge, the body becomes a medium in itself. He is not a dancer but he knows the poetry of a body moving in space. To his teacher, the famous Jacques Lecoq, the body was the vehicle of creativity and experimentation and the essence of creative theatre was play – an openness to discover what can emerge from movement and play.

(Rutherford 23)

+ Kentridge describe his techniques as cross-fertilization between different mediums and genres, which is essential at play with the experimental exploration of my practice.

+ The reconstruction of the drawings, collages, thoughts and ideas that he puts together given us a pin-hole to how he makes sense of the world, and embodying the openness of ideas though the physical act.

+ He encourages not to have a script or a clear plan, to not know the answer, and embrace that provisionality and uncertainty

Overton, Neill. “Drawing as Performance: The Art Gallery Meets Experimental Theatre.” Fusion Journal, no. 7, 2015.