Sharon Katz is a visual artist intrigued by the way in which marks and forms can generate the illusion of movement and even a sense of vitality. Sharon’s practice includes works on paper, animated short film, and experimental animation.
Sharon has a Bachelor of Science and a Master’s of Fine Art, as well as a blog at Animation World Network. Sharon is based in Ottawa.
In this series of works I'm applying animation techniques to framed works on paper in order to look at how these two mediums address time differently.
I was originally attracted to encyclopedia pages because of their assumed authority and the quaint way in which many of the facts are no longer factual. It's as if this source of information - which was once hugely valuable - is now redundant yet remains an essential ingredient of the contemporary. The glass enclosure contributes a sense of archive, and the transparency and layering generates a sense of the old and the fresh in juxtaposition. In addition painting on a glass layer reminds me of animation cels.
The text and encyclopedia pages supply a textured surface to build on. The line and paint are like my animated marks and phrases piled on top of each other. Sometimes they wander off the glass and onto the frame itself.
I use alpha mattes in animation to act as windows into events. In these artworks I'm adding alpha mattes to a still image. It creates a tension between the expectation of change within the alpha matte's transparent opening and the static nature of a painting.
For example, in the work String Theory, the concept of parallel universes is depicted by a red ball above the glass and a tennis player (yearning to engage with it) below the glass. They are in a perpetual state of suspended animation because they will never meet. (The work is a nod to Marcel Duchamp's Large Glass, which suspends motion and speaks to unrequited desire in a mechanical age.)