Interview: 10 question
1 -Tell me something about your educational background
After studying animation and Ergologie (Labour Sciences / Psychology Assistant) we (3 students ENSAV: la Cambre / Brussels) have created a studio of animation film. (See website: www.graphoui.org)
In this context we do and we support documentary films, experimental films and animation films.
This workshop is recognized as a production structure and as a center of expression and creativity by the French Community of Belgium.
In addition, I teach the still image, moving image, storyboard and animation into an art school in Brussels (ERG: graphic research School).
2 -When did yopu start filming?
I started making films (mostly animated films) when I was 12 years old as part of a small structure that we have set up with friends.
Since the beginning the work of filmmaking is intimately associated with a team work
3. What kind of subjects have your films?
I am passionate about the reality and therefore the documentary.
The animated films that appeal to me or that I make are somehow animated documentaries.
For me,the essential rooted in a precise observation of the world as it is.
Topics (some examples): “What is close, what is far? “(Film and book on the feeling of closeness and remoteness and their perception in Africa and Europe).
“The joking relationship” practice some form of humor in West Africa. This fascinating practice links each ethnic group to another so that each member of
the community is parent of another member. This practice resolves conflicts through jokes and avoid shedding blood.
“Feral Nako” means “stop take avantage of your mother and take your responsibilities.” This work (animation and video installation) addresses the ability to take risks in African and European society.
“Bess bobu” means “that day! ”
Work on the daily practice of football in the districts of Dakar and Brussels
This “moving picture” work is inseparable from work “still image”.
Accomplishments are usually associated with publications (text, photos and drawings) and exhibitions.
4. How do you develop your films, do you follow certain principles, styles etc?
All the work I undertake include several levels.
They are triggered by a question I asked to the north (in my immediate environment) and I ask again in the south (Senegal, Burkina Faso, Burundi).
I interpretated the results of these surveys (drawings, film, animation .) and in parallel I proposed to the people who ansewered to give me a creative response with drawings, vidéo, animation film) .
This approach often requires small training.
Most films include animated part and another part in video.
Moreover, usually the result is the subject of a publication and exhibition.
5. Tell me something about the technical equipment you use.
Technically we use as few tools as possible (a HDV video camera and animation software tv paint, the first adobe editing, sound of Edirol.)
The result is reworked in the studio at Atelier Graphoui.
Generally we invite African participants to collaborate e at the postproduction work
6. The field of “art and moving images” (one may call it videoart or also differently) is manifesting itself as an important position in contemporary art. Tell me more about your personal position and how you see the future of this field (your personal future and the future of “art and moving images”)
The evolution of the distribution and presentation of the moving image has changed our conceptions of work.
We no longer think in terms of continue narrative construction (a story) but in terms of sequences or plans that make sense in relation to the topic.
Often the implementation of a protocol (repeat, loop, etc. ..) (see LAAR) allows us to focus on a specific part of a action or a sequence.
In addition, the projection in a space can multiply the perception of our work.
In addition we often project a video (plan or video) as part of a broader journey is done as part of an exhibition with other media (drawings, paintings, photographs, models. . .). With this in mind we designed the film LAAR who later took its autonomy.
We strongly believe in the possibility of space to recreate the feel of a film.
7. How do you finance your films?
Our funding comes generally from the film selection committee of the Ministry of French Community of Belgium, the Ministry of Cooperation, private partners and our own production in partnership with our African colleagues.
8. Do you work individually as a video artist/film maker or do you work in a team?
If you have experience in both, what is the difference, what do you prefer?
This question is the answer 4.
We work very often as a team in Belgium and in Africa (with a group of artists (adults or children).
The evolution of the work is the result of teamwork but the publication is often the result of one person.
This relationship between several individuals in achieving a work is fundamental to us. Each time its about to finding a balance between creative individuals who live together andt a common question often understood very differently in the north and south ..
9. Who or what has a lasting influence on your film/video making?
Our influences are found in several fields.
This question is very broad. A few examples:
The work of Len Lye, W Kentridge, GD Huberman, Walid Raad, Hf, Imbert, and Penzel Umbert, the activities of the association Khiasma in Paris, James Benning, David Claerbout, Francis Alijs, Lewis Baltz, Bruce Chatwin, Alain Cavalier, Robert Kramer, Michael Apted, Agnes Varda, Robert Breer ….,
10. What are your plans or dreams as a film/video maker?
Right now we are preparing two exhibitions on the theme of playing football in the districts of different cities and two publications on the subject.