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Between Clay & Time

year

April 2025

medium

Water Color

project Overview

This project began as a quiet habit: drawing in response to everyday life. Over time, those drawings started behaving like a map—recording mood, place, memory, and the small emotional shifts that happen without announcement. What first felt like personal notation gradually revealed a larger question: how does an environment enter the body, and how does the body translate that experience back into images?

As the work developed through different contexts and periods of study, it moved beyond a single medium and became a long-form investigation. The project is not built on a fixed script, but on accumulation—observations, fragments, and visual experiments that evolve into narrative form. The film that will emerge from this process is intended to feel lived-in rather than explained: a space where atmosphere and emotion guide meaning.

Research Strategy

The research unfolds in phases throughout the Re:Anima master’s program, but the boundaries between research and production remain fluid. Each phase informs the next, and discoveries made through practice continuously reshape the direction of the work. Instead of working toward a predetermined conclusion, the project is structured to allow unexpected outcomes and new questions to surface.

The first phase focuses on grounding the project conceptually. I will identify the themes that matter most to the work and refine the questions that drive it. This includes collecting visual, theoretical, and contextual references—ranging from animation, painting, and cinema to texts and lived experiences. These references will be studied not only for content, but also for structure, tone, and method.

Artistic Investigation

The artistic investigation phase is where the research becomes tangible. I will develop the project through iterative experiments: short animation tests, character and space studies, storyboard sequences, and explorations of rhythm and pacing. These tests are not treated as preparation alone—they are part of the final language of the film, shaping its aesthetic and emotional structure.