Daughter of Butades
Installation / Animation / 2024 / Black&White / 16:9 / 8min 27sec (Loop)
Film / Animation / 2024 / Black&White / 16:9 / 8min 36sec
Installation / Animation / 2024 / Black&White / 16:9 / 8min 27sec (Loop)
Film / Animation / 2024 / Black&White / 16:9 / 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.
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.
Synopsis
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.
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.
Synopsis
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.
installation view "17th shiseido art egg Daughter of Butades" at Shiseido Gallery (Tokyo, Japan) Photo by Ken Kato
Picture #1 for Daughter of Butades
Chacoal on paper / 2024
Chacoal on paper / 2024
岩崎はロトスコープの創作過程で、一枚の紙に一場面を描いて撮影し、そのイメージを消して同じ紙に次の場面を描いて撮影し…を繰り返す。よって、原画には前に描いた場面の消し跡が残る。描くこと、それを消すことは記憶と忘却の連続であり、そこに痕跡として現れる消し跡は「追憶」の軌跡となる。
Using the rotoscope technique, Iwasaki began by drawing and shooting a scene on a sheet of paper before erasing the image and repeating the same process over and over again. As a result, erasure marks from the series of images remained in the original picture. Drawing and erasing are acts of continuously remembering and forgetting, and the erasure marks, which appear as traces, form a trajectory of memory.
Picture #2 for Daughter of Butades
Chacoal on paper / 2024
Chacoal on paper / 2024
通常のロトスコープではトレースする映像の時間軸に沿って描いては消す行為を繰り返す。そのため、前の場面、いわば「過去」が痕跡として残ることになる。しかしこの場面では、時間軸の逆からトレースし、それを逆再生させアニメーションにするという手法がとられている。結果として「未来」が痕跡として残り、予兆を感じさせるドローイングが立ち現れる。
As rotoscoping normally involves repeatedly drawing and erasing in accordance with the timeline of a moving picture, the earlier scenes (i.e., the past) remain as traces. However, it is also possible to animate these scenes by tracing the timeline in reverse and playing them backwards. Thus, the future remains as a trace as the drawings emerge.
As rotoscoping normally involves repeatedly drawing and erasing in accordance with the timeline of a moving picture, the earlier scenes (i.e., the past) remain as traces. However, it is also possible to animate these scenes by tracing the timeline in reverse and playing them backwards. Thus, the future remains as a trace as the drawings emerge.