Presenting Exploration Into The Ocean of Motion.

An associative flux of visual & audible expression.

In bringing together these animated visual elements in accompaniment with the musical tracks, polymorphous & symbolic interpretations may be made across it’s circular composition - inspired by and dedicated to the artist’s whose works constitute the ephemera, namely Suzan Pitt (1979), Keiichi Tanaami (1975), Alex Toth (1972), the following pages are also committed.

In aiming to as closely present their words as primarily given by them, the following can also be understood as a collage of insights in the form of an exhibitionary guide to accompany the artefact piece - with each quote also functioning as ephemera of associated creative ideas.

The insights and articulation of expression, the views and events expressively presented by these three artists, the works which they produced, and the notions which precipitate them - have inexplicitly imparted a transformation onto my view on the subject of artistic consideration within music production. Having positively developed my outlook on audio production as a creative practice - in a more enjoyable and exploratory sense, and in an artistically reflectionary & contemplative sense.

The following quotes referenced and presented here constitute this supplementary of ideas from these three artists whose words have imparted this valuable lens through which to reflectively view my own creative endeavours, in its development, and in its associated aspects.

Keiichi Tanaami (2024)

"A magazine that is packed to the brim with human interests and desires bears a strong resemblance to who I am as a person. My life is not a straight shot, with one central theme running through it like a book. It would be more properly called a ‘magazine editor's life', spent looking about at my surroundings constantly, wandering from place to place, engaging in a wide variety of work along the way."

“From the front line, Tanaami observed the Neo Dadaism Organizers' movement, started up in 1960 by artists Ushio Shinohara, Genhei Akasegawa, and Shūsaku Arakawa. "Masanobu Yoshimura had a studio in the Hyakunincho neighborhood of Shinjuku; it was the first private residence designed by Arata Isozaki. Young artists would gather there nearly every day at around sunset, and would hold parties that raved through the night. They were a feast of sounds that existed in that alternate dimension that really represented the '60s, like a feverish ritual with brains and bodies clashing with great noise." - "There was an allure to the air of excitement they exuded and the life they lived, these artists who had adopted antiart, the polar opposite of [commercial arts]. It occurred to me that this mode of expression that stripped away every sort of institution and constraint, that this, too, was indispensable to me."

“Tanaami published Portrait of Keiichi Tanaami, a pop art book which blended Japanese manga with American hero comics, as a "piece of art that is a book, that does not adhere to exhibition on a gallery wall"

“in 1969, under the title of Image Director, he published the legendary book, Illustrated Book of Imaginary Tomorrow, a compilation of the underground art scene in Tokyo in the 1960s. The images included in the book had no boundaries ... It was an experimental work, using every conceivable technique of graphic design to edit together the virtual images emitted by the mass media with the myriad images wriggling about inside Tanaami's brain.”

"The original French term ‘montage theory' means ‘to assemble fragments together', but it was Eisenstein who theorized this as a form of visual grammar within film. To summarize, it refers to the joining together of different shots of films to create footage with a particular significance, but the problem lies in the way the shots are joined and put together. The director's personal imagination is clearly reflected therein, making up the heart of the ‘editorial' concept. What is interesting here is that Japanese culture played no small part in the theory of montage which was supposedly created against the backdrop of the Russian avant-garde, the new cultural movement in Russia at the time. The elements of ‘decomposition and reconstruction' and ‘interruption and sequence', lived unconsciously by the Japanese people, became exposed through the eye of the third party, Eisenstein. This point of view was then re-imported, and as I was deciphering montage theory, I also came to look for new methodologies in editing and design."

Suzan Pitt (2024)

“A visual poem about the creative process, taking the role of the magician/artist as the protagonist who ushers the viewers through her search for the essence of the creative forces which rule and drive our existence.”

“I wanted the film to mirror the way we daydream - as Jung said, “Images are pregnant”: each image leading to the next, the mind unfolding, constantly giving birth. I wanted the audience to see the film unfold as if in a daydream.”

“The taking in and spewing out, the searching and the discovering, the desire and the contact, the ever-evolving acts of nature. There is something of the 60's and the 70's there in the film- acid and hallucinogens and spectacular insight and the trance of getting lost and being found- and color.”

“Her world is a baroque artifice of familiar items, lovingly shaded in pencil and watercolor, layered into impossibly deep space” - excerpt from “The Anxious Pencil”, Buchan et all (2005).

“Points to the inadequacy of language to describe what is essentially a feminist dream of ruthless self-control.” excerpt from “The Anxious Pencil”, Buchan et all (2005).

“The animation constitutes one of the most important works of imagination seen in some time, filled with every possible animation technique, all exquisitely rendered, all calculated to produce incredible wonder in the heart of the viewer. It is a children’s fairy tale for adults.”

“I stared one night at the china cartoon mouse ashtray and I drew courage from its color and childlike purity. I imagined a depressed and isolated woman who might find a way out through the re-discovery of our innate relationship to nature, our primal home.
And so the cartoon mouse takes her on a journey of renewed awareness.”

“My experiences painting in the rainforest of Guatemala and Mexico informed the creation of the animation of the jungle.” ... “The use of various “styles” and ways of picturing were used to implement the changing atmospheres and locations animated in Joy Street”

Alex Toth (1991)

“In my time, now in the autumn or winter of my life, my eyes have seen the bad drive out the good, the terminal deterioration and all-but-lost dead adventure strip - and the fun and magic and delicious innocence and surprises in the comic book”

“The ugly, mean, vile, banal, twisted, sick, bloody celebration of torture, rape, cruelty, filth, demonic and sociopolitical psycho-bablle - and death - is disgusting stuff to me”

“Devoid of original thought or of moral ethical values - it is hopeless fatalism, nihilism, anarchy, pointyheaded anti-everything gibberish - and most of it dares to label itself ‘adult’ - ‘for mature readers’ - etc, etc - which is nonsense !”

“Much much more ‘adult and mature’ are the stories no one can, or will, write and illustrate about : joy, wonder, love, honor, romance, adventure, delight, ethics, morality, spirituality, humor, wit, intelligence, invention, compassion, trust, respect, duty, character, sacrifice, sentiment, family, discovery, exploration, history, the myriad peoples, customs, and stories abounding out there in the world - human stories !”

“To grind out incessant repetitions of the doom and gloom, post-armageddon bilge, garbage, anti- and non- heroic bumbling “heroes”, to feed the sickness of its own making - Damn how well it may be written or drawn ! It’s garbage ! created by the young, for the younger and youngest readers”

“I fear for our future - if we’re to have one ? - if such is ‘entertainments’ for our father’s and leaders of tomorrow! What might their offspring be like, then, I wonder. Nope, sorry - I see no future for us, for them, for comics, tv, movies, etc, unless we kick ‘sick’”

“The sick kick plagues comics everywhere, east to west, from Japan to England to Europe to here [...] - we’ve had enough of desolation of spirit and shock to our senses. The comic book is, in the hands of today’s worst practitioners and prosylitizers of if this mind-set, committing suicide ! and murder ! of its traditions, roots !”

“It cannot stand - As it is, it should not !
A pox on it, and those who uglify children’s minds and senses and expectations with their miasmic miserable muck and mayhem ! And the pale horses they rode in on !

Cursed be the fool who destroys wonder !”