The film was made for a brief given by TATE, and is based on supplied audio of artist Paula Rego discussing her artistic process. I was intrigued by her description of working with a human subject and the difficulty with “copying” them. They carry their own agency can only be represented, and not even properly so: they are only interpreted through the artist’s subjective lens and are therefore not “the real thing”, as they have so much more to them as an existing, living, feeling entity. I was interested in visualising this tension; the subject appears to be born out of its creator but then takes on a life of its own, and both sides struggle with containing the subject and getting it to play its role. The technique used references Paula Rego’s early expressionist paintings and their dynamic, colourful and overwhelming nature which illustrates Rego’s notion of an overflowing personality, and lends itself to animation. The main technique is frame-by-frame digitally drawn animation with a large focus on experimentation with texture. The animated characters and shapes are textured digitally with scans of oil-painted canvas paper, which looked to emulate Rego’s mark-making and general colour palette. The background is a stop-motion animation made using oil on glass, and is further edited with colour correction to go through shades of the primary colours Rego often uses in her work. Adopting some of the artist’s visual language to interpret her words was my way of trying to understand the concepts she was underpinning by relating them to her body of work.

 - Music by Kalle Jurvanen 

Paula Rego :

Making the Real Thing


development/ reference

Paula Rego's Firement of Alijo, 1996
Paula Rego's Firement of Alijo, 1996
Reference Illustration