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Welcome to Shroomstudio. Find out more about who we are & what we do. If you're searching for a style or need some inspiration for your next project, have a browse through our featured project archives and get in touch via the friendly form on the contact page. Check out the shroomstudio blog where we post an eclectic selection of inspirational animation projects and tidbits from around the globe & from within our network of talented associates & collaborators. If you see a project you really like, feel free to share it with the social media icons on the top of each project page. Still haven't found what you're looking for ? Take a look at our complete portfolio on VIMEO where you'll find a full animo-graphy of the studio's output. We're always on the lookout for talented animators so get in touch..send us your reel & or links and tell us a bit about yourseIf. lf you have a piece of work which you've created & think would make a good entry, send a link (preferably vimeo) and if we like it, we'll review it and post it on our widely read and topical animation blog.

1935-1937 Len Lye – “Kaleidoscope” + “A Colour Box” + “Colour Flight”

This is Len Lye: animation in a most imaginative form and techniques we have been inspired by to design stage visuals for U2 and The Rolling Stones concerts.. just brilliant

A pioneer of direct-animation, Len Lye (1901-1980) was also a highly innovative painter, photographer and poet, as well as an important figure in kinetic sculpture. Born in New Zealand, Lye left home as a young man in search of film activity and the stimulation that would satisfy what he called his preoccupation with art and movement. Inspired by the primitive imagery of South Sea island art and film’s power to present dance ritual and music, Lye’s experimental – and often revolutionary – camera-less techniques attracted the attention of John Grierson and Alberto Cavalcanti of the General Post Office Film Unit in London, which sponsored Colour Box and other films. Although Lye’s filmmaking had nearly ceased by the late 60s, he continued to speak of his belief in cinema as “the Cinderella of the fine arts. Her beauty lies in her kinesthesia… The fine art film requires urgent consideration.”

source http://hcl.harvard.edu

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