Daughter of Butades
2024 / Animation / single channel video / B&W / sound / 8min 27sec. (loop)
Film version : 2024 / Animation / B&W / sound / 8min 36sec
2024 / Animation / single channel video / B&W / sound / 8min 27sec. (loop)
Film version : 2024 / Animation / B&W / sound / 8min 36sec
Director/ Animator / Editor / Monologue : Hirotoshi Iwasaki
Voice：Masayo Ito
Sound Design：Masumi Takino
Sound Mixing Studio：AOI STUDIO
Re-recording：Sayaka Ninomiya, Sae Miyoshi
Re-recording Assistant：Rihoko Hishinuma
Design：Shota Urakawa
Photos：Hiroyuki Umino
English Subtitles：Asako Eguchi
Lines from Aeternitas, a poem by Junzaburō Nishiwaki, translated：Eric Selland
Special Thanks：Junichi Nishiwaki, Midori Moriyama, Masaki Oikawa, Natsuki Yasutake, Junichi Yasutake, Tomoko Yasutake, Ao Iwasaki, Ami Iwasaki
Production Cooperation：Shiseido Co., Ltd.
Voice：Masayo Ito
Sound Design：Masumi Takino
Sound Mixing Studio：AOI STUDIO
Re-recording：Sayaka Ninomiya, Sae Miyoshi
Re-recording Assistant：Rihoko Hishinuma
Design：Shota Urakawa
Photos：Hiroyuki Umino
English Subtitles：Asako Eguchi
Lines from Aeternitas, a poem by Junzaburō Nishiwaki, translated：Eric Selland
Special Thanks：Junichi Nishiwaki, Midori Moriyama, Masaki Oikawa, Natsuki Yasutake, Junichi Yasutake, Tomoko Yasutake, Ao Iwasaki, Ami Iwasaki
Production Cooperation：Shiseido Co., Ltd.
西脇順三郎の詩“えてるにたす”からの詩の引用の許可をくださいました西脇順一さま、ご尽力いただきました森山緑さまに心から感謝申し上げます。
I sincerely express my gratitude to Mr. Junichi Nishiwaki for granting permission to quote a poem by Junzaburō Nishiwaki's poem "Aeternitas", and to Ms. Midori Moriyama for her efforts.
I sincerely express my gratitude to Mr. Junichi Nishiwaki for granting permission to quote a poem by Junzaburō Nishiwaki's poem "Aeternitas", and to Ms. Midori Moriyama for her efforts.
パンデミックの影響で会うことの叶わなくなった人や風景の記録映像をトレースして描かれたロトスコープアニメーション。女は“彼”について話す。彼は、モティーフの輪郭をなぞりながら記憶に思いをめぐらす。日常の風景、亡くした祖母のこと、震災のこと。なぞることで、記憶は過去から現在、さらには未来へと行き来する。
This rotoscope animation is drawn by tracing recorded footage of people and landscapes no longer accessible due to the pandemic. A woman speaks about her friend who reminisces, tracing the contours of motifs, memories flood his mind—everyday scenes, thoughts of his deceased grandmother, reflections on the disaster. Through tracing, memories oscillate between past, present, and even future.
This rotoscope animation is drawn by tracing recorded footage of people and landscapes no longer accessible due to the pandemic. A woman speaks about her friend who reminisces, tracing the contours of motifs, memories flood his mind—everyday scenes, thoughts of his deceased grandmother, reflections on the disaster. Through tracing, memories oscillate between past, present, and even future.
installation view "17th shiseido art egg Daughter of Butades" at Shiseido Gallery (Tokyo, Japan) Photo by Ken Kato
Picture #1 for Daughter of Butades
2024 / Charcoal on paper / 21×29.7cm
《Daughter of Butades》では、1カットにつき1枚の紙のみを用いてロトスコープを行った。動きをなぞり、撮影し、それを消して、次の動きを描く。この反復によってアニメーションは生成される。そのため原画には、以前に描かれた動きの消し跡が幾重にも残されている。描くことと消すことの反復は、記憶と忘却の連続でもある。紙の上に痕跡として現れる消し跡は、「追憶」の軌跡となる。
In "Daughter of Butades", I used only one sheet of paper for each shot, creating the animation through rotoscoping. I traced the movement, photographed it, erased it, and then drew the next movement. Through this repetition, the animation was generated. As a result, the original drawings retain multiple traces of previously drawn movements that have been erased. The repetition of drawing and erasing is also a continuous process of remembering and forgetting. The erased marks that appear as traces on the paper become trajectories of "reminiscence."
2024 / Charcoal on paper / 21×29.7cm
《Daughter of Butades》では、1カットにつき1枚の紙のみを用いてロトスコープを行った。動きをなぞり、撮影し、それを消して、次の動きを描く。この反復によってアニメーションは生成される。そのため原画には、以前に描かれた動きの消し跡が幾重にも残されている。描くことと消すことの反復は、記憶と忘却の連続でもある。紙の上に痕跡として現れる消し跡は、「追憶」の軌跡となる。
In "Daughter of Butades", I used only one sheet of paper for each shot, creating the animation through rotoscoping. I traced the movement, photographed it, erased it, and then drew the next movement. Through this repetition, the animation was generated. As a result, the original drawings retain multiple traces of previously drawn movements that have been erased. The repetition of drawing and erasing is also a continuous process of remembering and forgetting. The erased marks that appear as traces on the paper become trajectories of "reminiscence."
Picture #2 for Daughter of Butades
2024 / Charcoal on paper / 21×29.7cm
通常のロトスコープでは、元映像の時間軸に沿って、描くことと消すことを繰り返すため、原画には以前の動き、いわば「過去」が痕跡として残る。しかしこのカットでは、あえて元映像の時間軸を逆にたどり、後の動きから前の動きへとトレースした。そして、撮影したイメージを逆再生することで、映像としては本来の時間の流れに戻される。その結果、紙上にはこれから現れるはずの動き、つまり「未来」が痕跡として蓄積され、予兆のようなドローイングが立ち現れる。
In conventional rotoscoping, drawing and erasing are repeated along the timeline of the original footage. As a result, the original drawing retains traces of previous movements, or in a sense, traces of the “past.” In this shot, however, I deliberately traced the original footage in reverse, moving from a later movement back to an earlier one. The photographed images were then played back in reverse, returning the animation to its original flow of time. As a result, movements that are yet to appear—in other words, traces of the “future”—accumulate on the paper, giving rise to a drawing that feels like a premonition.
2024 / Charcoal on paper / 21×29.7cm
通常のロトスコープでは、元映像の時間軸に沿って、描くことと消すことを繰り返すため、原画には以前の動き、いわば「過去」が痕跡として残る。しかしこのカットでは、あえて元映像の時間軸を逆にたどり、後の動きから前の動きへとトレースした。そして、撮影したイメージを逆再生することで、映像としては本来の時間の流れに戻される。その結果、紙上にはこれから現れるはずの動き、つまり「未来」が痕跡として蓄積され、予兆のようなドローイングが立ち現れる。
In conventional rotoscoping, drawing and erasing are repeated along the timeline of the original footage. As a result, the original drawing retains traces of previous movements, or in a sense, traces of the “past.” In this shot, however, I deliberately traced the original footage in reverse, moving from a later movement back to an earlier one. The photographed images were then played back in reverse, returning the animation to its original flow of time. As a result, movements that are yet to appear—in other words, traces of the “future”—accumulate on the paper, giving rise to a drawing that feels like a premonition.