Wee Requiems
17 April 2017

screening
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an illustrated artist talk with
Jenn E Norton

presented at Rendezvous With Madness Film Festival

06.11.2011

co-curated with Deirdre Logue

 

Wee Requiems

Wee Requiems is a program of short experimental videos in lament. Mourning for the increasingly complex worlds of animals, plants and people, these works wander in and around both the real and alien, animated, mutated, recorded and illustrated. Fables of savagery and shame, death in the everyday, dilapidated interiors and microscopic utopias sit side by each, calling out for our sympathy, asking for our forgiveness, needing our attention.

 

Programme:

How to Care for Introverts, Leslie Supnet, 2010, 1:48

Exercises in Faith: Bird, Julieta Maria, 2010, 1:52

Wee Requiem, Jenn E Norton, 2010, 7:03

Beauty Plus Pity, Emily Vey Duke & Cooper Battersby, 2009, 14:19

The Fire Theft, Isabelle Hayeur, 2010, 9:00

Thalé, Barry Doupé, 2009, 5:07

Golden Room, Michael Stecky, 2008, 5:11

Cartoon For Those Who Have A Certain Fondness For Ideas But Are Tired Of Thinking, Steve Reinke, 2010, 2:15

*Followed by a panel discussion with Jenn E Norton, Julieta Maria, Dr. John Strauss, and Lisa Walter. Moderated by Deirdre Logue and Erik Martinson.

*Programme notes available here.

How to Care for Introverts, Leslie Supnet, 2010

Exercises in Faith: Bird, Julieta Maria, 2010

Wee Requiem, Jenn E Norton, 2010

Beauty Plus Pity, Emily Vey Duke & Cooper Battersby, 2009

The Fire Theft, Isabelle Hayeur, 2010

Thalé, Barry Doupé, 2009

Golden Room, Michael Stecky, 2008

Cartoon For Those Who Have A Certain Fondness For Ideas But Are Tired Of Thinking, Steve Reinke, 2010

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An Illustrated Artist Talk with
Jenn E Norton

The imaginative work of Jenn E Norton is not quite a surrealist dreamscape, but an actively dreamed scape, a place built with architecture of wonder and rumination.  Ordinary objects and activities become strange through the bending of their longstanding expectations, often achieved through disjunctive content realistically glued together with composite editing.  This uncanniness constructed through digital intervention invites new approaches and consideration to the familiar.  Her cast may be her cats, inanimate objects or multiple versions of herself in situations that derive from her immediate experience, yet the formal considerations allude to greater ontological questions.

Norton discussed how working intimately with the technology used in the production of her practice in a DIY capacity marries intuitive and formal approaches to her creative process.  Working in near isolation, honing her technical skill as an editor, animator, compositor and sound designer via online tutorials and trial and error, she creates moving images outside of a rubric of traditional cinematic roles of director and producer.

 

*Artist bio found here.