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| © JIM WOODRING/T.FUYAMA |
FUYAMA Taruto
Born in 1973. Since 2003, produced animation of Jim Woodring's comic Frank and the manga, SFnosuke of the late Shigeru Sugiura. Aims to link written and filmed media expressions; also, coordinates development of devices for making animation for children.
This work gathers the animation works created by the distinctly different styles/methods of several writers who are avid readers of Jim Woodring's original. My version focuses on how to depict the movements of the characters accurately in the CG without doing injustice to the beauty of the pictures and global vision found in the original. At any rate, this work could not have been possible without the greatness of the original. I wish to share the pleasure of receiving this award with Jim who resides in Seattle.
It may be too much to say that this is a computer-enabled regeneration of Shigeru Sugiura and Fleischer Brothers, but the greatest appeal of this work is that it had successfully expressed unique "newness" by combining 3D-CG and classical cartoon-like design. Alien creatures created by pasting comic frames to 3D-CG in a Gothic manner generate uncomfortable feelings, and these uncomfortable feelings that color the entire work feature this work's contemporary sensitivity.
BACK
What kind of medium did you choose for your work when the first time you were aware of your "creation"?
An 8 mm film.
And, how old were you and what did you make?
When I was 18 years old, I made an animation of moving symbols using cine calligraphy, a method of creating animated images by scratching the film.
Do you have any consistent subject matter or theme through your works?
The basic theme as an artist…uh, I guess I have to get older and have more experience to get one. But I find the relationship between strangers and a sense of humor as a consistent theme throughout my past activities.
When do you feel the connection with the technology in your creative activity?
What is the difference of the sense of Media Art from the one of traditional fine art?
The technology contains a grotesque aspect. However, as it develops further, it becomes a commodity, the grotesque aspect is concealed. Consequently, we barely feel the connection with the technology. But when the technology reveals its grotesque quality to us, like when bugs in the program generate a chaotic situation, I find it the most interesting of all. Also, I look at art in a broader sense. With the proper attitude, I think that even the action of cooking and wiping the windows could be included in art. What distinguishes media art from the other forms is the possibilities of simulation and networking.
How does your choice of medium affect on your works?
In another words, what kind of expression does your choice of medium allow you to make?
I am using the computer as a medium mainly for my expression. Compared to making animated films, computers save a lot of work and time. But, at the same time, it annoys me because I can't help thinking mathematically. It is very difficult to maintain a good balance between an elaborate plan and spontaneity. But when those two come together under the right circumstances, a unique and strange atmosphere, which is never made intentionally, can be produced.
Do you feel that your theme of your works and the digital art will change along with the shift of the society?
I think the basic theme is something that never changes. That's why we call it "basic." Media Art constantly changes along with changes in technology.
What kind of field you are best at in your works?
And how do your works fit within and affect on this society?
I am good at creating a unique sense of movement and a tempo that can't be patterned. But I have to work on them more. In society, my work is still underground and has little influence. But, I would like to become an artist who has a profound influence on a small number of people rather than who has a superficial influence on many people.
What is your motto?
Be faithful, I guess.
What kind of situation in every day life do you get inspired most?
When I am working with my hands.
What kind of vision do you have in your future development as the creator?
In the near future, I will leave the school where I have been teaching for 7 years and where I started work as a freelancer. I will do anything to train myself for the time being. For the long term, I would like to work internationally and collaborate with domestic and international artists. Also, I will keep working on the development of experiential animation production devices for children with my friends and try to promote a wide range of animators.
Please name of the people or phenomena that you have got most influenced by as the creator.
Jim Woodling
When I showed him the pilot version of "FRANK" for the first time, he told me 'This is wonderful. "FRANK" belongs to you. It is independent of my "FRANK." I tried hard to keep the film faithful to the original story on some level, but also, I wanted to maintain the originality of my own work. I was very happy to know that Jim thought highly of my originality, and I have huge respect for Jim as an artist who can make comments like that.
Jean-Francois Laguionie
French animator. In 1960, he made many great works of animation with cut paper. I saw his work at the Hiroshima International Animation Festival, but I haven't seen others since then; although, he is one of my favorite artists. Beside Laguionie, I could name Paul Grimault, whom I respect. I always want to express a sensible feeling, which exists in French work, in my work someday.
Peter Foldes "Hunger"
Once, I was critiqued as having a surreal, disoriented feeling in my work. This feeling, the wired quality will never be understood; like the one in the ÿ, it is the exact same feeling I had when I saw this work 10 years ago, and it made me so uneasy. I still think that this is an outstanding masterpiece among CG animations.
Animation From Estonia
I watched an animation called "Bermuda" a couple years ago. Since then, I have been very impressed by animation from the Republic of Estonia. In particular, the work "On the Possibility of Love" by Janno Poldma had a strong influence on me.
Ningyoujyoururi(Bunraku)
Four years ago, I saw Bunraku for the first time. My overseas artist friend was surprised because I had never seen Bunraku before even though I am Japanese. Since then, I have been obsessed by it as far as learning how to move the dolls at the Bunraku group in my neighborhood. In terms of the movement as art, there are many similarities between animation and Bunraku. I learned a lot from it in many ways.
When I showed him the pilot version of "FRANK" for the first time, he told me 'This is wonderful. "FRANK" belongs to you. It is independent of my "FRANK." I tried hard to keep the film faithful to the original story on some level, but also, I wanted to maintain the originality of my own work. I was very happy to know that Jim thought highly of my originality, and I have huge respect for Jim as an artist who can make comments like that.
Jean-Francois Laguionie
French animator. In 1960, he made many great works of animation with cut paper. I saw his work at the Hiroshima International Animation Festival, but I haven't seen others since then; although, he is one of my favorite artists. Beside Laguionie, I could name Paul Grimault, whom I respect. I always want to express a sensible feeling, which exists in French work, in my work someday.
Peter Foldes "Hunger"
Once, I was critiqued as having a surreal, disoriented feeling in my work. This feeling, the wired quality will never be understood; like the one in the ÿ, it is the exact same feeling I had when I saw this work 10 years ago, and it made me so uneasy. I still think that this is an outstanding masterpiece among CG animations.
Animation From Estonia
I watched an animation called "Bermuda" a couple years ago. Since then, I have been very impressed by animation from the Republic of Estonia. In particular, the work "On the Possibility of Love" by Janno Poldma had a strong influence on me.
Ningyoujyoururi(Bunraku)
Four years ago, I saw Bunraku for the first time. My overseas artist friend was surprised because I had never seen Bunraku before even though I am Japanese. Since then, I have been obsessed by it as far as learning how to move the dolls at the Bunraku group in my neighborhood. In terms of the movement as art, there are many similarities between animation and Bunraku. I learned a lot from it in many ways.
