In the short film above – directed by Maryam L’Ange - she makes her debut as art director for London-based electro-pop band Eaux’s new video, Hold On. Shot in the Town Hall Hotel in East London, the video – produced by Somesuch & Co - sees lead singer Sian Ahern use sinister and seductive charms to entice a lover. VOGUE’s creative director Jaime Perlman was drawn to the project through her friendship with L’Ange, aiding director in making decisions concerning fashion, set and location. Via Purple.
Artist and poetess Jem Goulding fused with confidant Gael Foucher, over “Badwater”; a symbolic song sent to Goulding by Speck Mountain in the hope she would make a film visual for the release. When asked to create a video for the band Goulding said she would not shoot to commission, but instead unearth some unseen 8mm footage from her personal archive; making the project one of fated synchronicity, and the unknown. Due to the personal nature of her footage; a fleeting encounter in Normandy 3 years prior, Goulding felt unable to work objectively, and passed the final direction to Foucher. Foucher insisted editor Bade Tarson use the imagery they had found on the negative end; some out-takes of Goulding herself, presumably shot boy the boy in the film. With this experiment, Foucher transformed the piece into both documentary and fantasy, exploring his new love’s old love, with his own dimension of sensuality and mystique. The Badwater project came to light. This film has become particularly poignant as a disarming ‘life-imitating-art’ moment, when Gael Foucher died suddenly on March 17th, while Goulding was en route to see him, and the secret work he had made for her. By the time she and Speck Mountain were presented with Foucher’s heartfelt contribution, he had already been sleeping, eternally, for days.
Natasha Khan taps mixed-media director and stop motion specialist Peter Sluszka to direct a music video for Lilies, the 4th single from the Bat For Lashes critically acclaimed album The Haunted Man. Life-sized puppets, a flock of 2D spirits, miniature landscapes, morphing polygons, were animated to create a mysterious landscape for Natasha.
This short, LA Nocturne, is created from the signature collages of Jeneleen Floyd. The animation is set to the backdrop of photographer Max Yavno and Lee Shippey’s 1950s tome The Los Angeles Book. “I hadn’t intended on using it for collages,” explains the artist, whose creations feature in this month’s “Kiss Me Deadly: Contemporary Neo-Noir from Los Angeles” at London’s Paradise Row gallery. “When I started working on the concept for the show I instantly went and grabbed it from my shelf. I decided to use the book as the character itself.” “It has all the elements of a great neo-noir,” says art consultant and curator Price Latimer Agah, “Symbolic allusions, a stark palette, foreboding music, femmes fatales, jarring editing and a dark mood of hopelessness and romanticism.”
Panorama is a video piece featuring the dancer Juri Onuki, directed by Arat-Voix (Holland Brown and RT Salvor of Salvor Projects.) Choreographed by Onuki, the dance was inspired by a personal account of Onuki’s, based on her emotions in leaving New York City for Sedona, Arizona.
