Moldable plastic, embroidery floss, polyester and alpaca yarn, air-dry clay, acrylic paint, alcohol ink, glass beads, thread, felt
Software used: Adobe Lightroom, Photoshop, After Effects, and Premiere Pro
This piece depicts a moment of overwhelm and subsequent self-soothing. Handiwork has always been a source of joy and comfort for me, so it felt right for the puppet featured in this short to find solace and protection in the work of her own tiny clay hands. I like the idea of warm crochet keeping the cold stressors of the world at bay, even for a moment. This project is also something of a self portrait, with the hero character taking on a (cuter, smaller) version of my own signature hairdo. Of course, the comfort of the piece is challenged by the fact that hiding yourself away and turning off the TV does nothing to change the world outside your blanket armor. What's more, as a result of the reverse shooting method I used to achieve the effect of the character crocheting in camera, the protective, comforting scarf doesn't even exist anymore, unraveled like the protagonist's nerves. Hopefully she has a few more balls of yarn somewhere in that void-like media room!
This house isn't gonna clean itself!
Cardboard, acrylic paint, air-dry clay, oven-bake clay, wire, watercolors, watercolor paper, drawing ink, glass beads, felt, thread, hot glue, various fabrics
Software used: Adobe Lightroom, Photoshop, and Premiere Pro
Homemakers, parents, cleaners, and tradespeople alike labor to make life hospitable for us all, yet in our capitalist-consumerist society, in-home contributions are often dismissed, especially when the worker in question is a woman.
The medium of the film reflects its message; stop motion is an incredibly labor-intensive, time-consuming process, and by manually building and animating the props, I serve as a proxy for the invisible cleaner in the scene. In post-processing, too, where I remove all traces of the rigs and supports that make my scene possible, I reproduce the censoring of a society determined to overlook and undervalue the labor that makes our society function. This piece asks us to undertake a project of searching and of recollection, actively seeking out and recognizing the people on whose labor our lives depend and whose contributions for far too long have been overlooked. What would it take to see the people cleaning up our collective house?
Into the VizzyVerse: Flatwork
Celluloid sheets, acrylic paint, Sharpie
Software used: Adobe Lightroom, Photoshop, After Effects, and Premiere Pro
Collaborators: Tessa de la Fuente and Julia White
This piece was created for my university's year-end departmental showreel. Working on a small group of three within a production team of fifteen, I produced a 2D cel-animated transition scene to introduce the "Flatwork" category of student projects. All the shorts were to present a scene of a character entering a portal and retrieving a "Vizzie," the award given to exemplary student work in the department of Visualization. I was one of two character designers and animators, and I was also primarily responsible for compositing all assets in After Effects.