Swedish artist Nathalie Djurberg's intricately constructed claymation films are both terrifyingly disturbing and artlessly sweet.
The new works created for the Venice Biennale explore a surrealistic Garden of Eden in which all that is natural goes awry.
She exposes the innate fear of what is not understood and confronts viewers with the complexity of emotions.
Nathalie Djurberg was awarded the silver lion for a promising young artist at the Venice
Art Biennale 09.
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| 'Experiment' (2009) Venice Biennale |
Research Djurberg's work in order to answer the following questions;Research Djurberg's work in order to answer the following questions;I think it is very original and eye catching. It would be interesting to see this played on the big screen instead of on a tv screen in an art gallery.7. Add some of your own personal comments on her work.
(http://www.designboom.com/weblog/cat/10/view/6886/nathalie-djurberg)
1. What do you understand by the word 'claymation'?Claymation is when instead of filming a living thing, plasticine, clay and other deformable substances are used to mold each and every movement. This is done by recording a frame or still picture on a film or digital media and then played back in rapid speed. Every frame taken has been slightly moved or molded into the next movement. Claymation requires focus and patience.
2. What is meant by the term 'surrealistic Garden of Eden'? and 'all that is natural goes awry'?The term "surrealistic" has been defined as "a strange dreamlike atmosphere". From research on Djurberg's work I have found that her work is very colourful. This relates back to the term " surrealistic Garden of Eden". What is meant by this term is that the garden created within the film is very exotic and surreal. "all that is natural goes awry" could most likely state that the work is very unsual and has used something very natural and turned it into something very fake looking and quirky.
3. What are the 'complexity of emotions' that Djurberg confronts us with?
It has been said < ahref= "http://slashstrokemagazine.com/2009/10/15/experiment-by-nathalie-djurberg-swedish-pavilion-at-the-venice-biennale/" >" here"/a > , that although the gruesome flowers bleeding wax and the plasticine women being pulled apart from plasticine men was a tad fearsome. Although away from these disturbing parts of the film, the flowers were said to be very beautiful.
I get a similar feeling. I get a quite fearsome emotion when seeing the plasticine women being deformed and torn by the plasticine men. Although the colours throughout the film are very bright and attractive, I still get scared and a tad fiddly watching it. The work confronts us with lots of different feelings. One moment you are happy looking at the flowers, then the next thing you know a women's breast is removed.
4. How does Djurberg play with the ideas of children's stories, and innocence in some of her work?
Djurberg follows traditional children stories but gives them more of a brutal twist. She makes them much more fearsome and serious.
5. There is a current fascination by some designers with turning the innocent and sweet into something disturbing. Why do you think this has come about?
I think now days people are starting to open there eyes a bit more. There are alot of things in the world that are portrayed as innocent and sweet when really they are not. Such as famous actors or musicians. The press does everything they can to make the idol look there best and be shown as this amazing human being when in reality they could be nasty and unpleasent.
6. In your opinion, why do you think Djurberg's work is so interesting that it was chosen for the Venice Biennale?
I love the fact that the films were made from using claymation. Claymation is such an interesting way to film. Although it takes a long time, it would be very worth it in the long run.
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