Blanca Rego

Four dots blink on the screen and start to join following some of the multiple possibilities that can create connections between them. The generated shapes are sigils that invoke aligned forces, one after the other, in a flickering and hypnotic trance.

Abstract animation based on the idea of perverting the concept and aesthetics of two vintage devices related to mass media and mind control: An old CRT television and a brain machine intended to modify brain waves to relax.

Experimental abstract film created daily during the Covid-19 Lockdown. Made using more than 27,000 photos of a white bedroom wall and field recordings of the same room.

What happens when two hands touch? How close are they like? And how can proximity be measured, and even more so, in times of a pandemic and distancing? We think we touch things, that we can take other people by the hand, but physics tells us quite another story.

Psycho (1960) by Alfred Hitchcock and Psycho (1998) by Gus Van Sant collide in a frame-by-frame editing that assaults the eyeballs and assassinates the normative consciousness of the viewer. The footage seems to penetrate us, as though it was a knife or a threatening phantasmagorical entity. The fast succession of single frames and extremely short audio files produce afterimages and aftersounds—entoptic and endaural phenomena—creating a film that does not happen on the screen, but in our brain cells

Velocity alters the characteristics and the relationships between time and space. When we are in movement, we are just in movement; we only perceive what is around us if we stop. But even if we stop our perception is fragmented, we never perceive the full image because the world, and ourselves, are in a constant change, at speed. We can only glimpse brief fragments of reality.

Four dots blink on the screen and start to join following some of the multiple possibilities that can create connections between them. The generated shapes are sigils that invoke aligned forces, one after the other, in a flickering and hypnotic trance.

Abstract animation based on the idea of perverting the concept and aesthetics of two vintage devices related to mass media and mind control: An old CRT television and a brain machine intended to modify brain waves to relax.

Experimental abstract film created daily during the Covid-19 Lockdown. Made using more than 27,000 photos of a white bedroom wall and field recordings of the same room.

What happens when two hands touch? How close are they like? And how can proximity be measured, and even more so, in times of a pandemic and distancing? We think we touch things, that we can take other people by the hand, but physics tells us quite another story.

Psycho (1960) by Alfred Hitchcock and Psycho (1998) by Gus Van Sant collide in a frame-by-frame editing that assaults the eyeballs and assassinates the normative consciousness of the viewer. The footage seems to penetrate us, as though it was a knife or a threatening phantasmagorical entity. The fast succession of single frames and extremely short audio files produce afterimages and aftersounds—entoptic and endaural phenomena—creating a film that does not happen on the screen, but in our brain cells

Velocity alters the characteristics and the relationships between time and space. When we are in movement, we are just in movement; we only perceive what is around us if we stop. But even if we stop our perception is fragmented, we never perceive the full image because the world, and ourselves, are in a constant change, at speed. We can only glimpse brief fragments of reality.

Experimental work of animation constructed with photographs shot with a broken digital camera. It's a simile between a broken machine and the death of the human body. All the photographs were taken from the point of view of a sick person laying in bed, and the sound was recorded from the same point of view. The photographs and the sound were not manipulated in any way.

An experiment inspired by the idea of creating a materialist film using digital gadgets and apps that imitate retro aesthetics.

Engram (Optical Sound #001) is part of a series entitled This is not Cinema that recreates traditional experimental cinema aesthetics using lo-fi digital video tools. In this case, the inspiration were optical sound films in which the soundtrack is generated from the frames of the film, that is, what you see is the same that what you hear.

Digital animation based on the additive synthesis RGB (red-green-blue) color model-the primary colors of light.