TAIS is delighted to partner with Blackwood Gallery to offer this upcoming FREE workshop led by Amanda Strong
Amanda Strong, Biidaaban (The Dawn Comes) (video still), 2018. Courtesy the artist.
***Registration is full. Email email@example.com to be put on the wait list.
Amanda Strong: Creative Storytelling Through Animation: Workshop
DATE: February 15-16, 2020
WHERE: Toronto Animated Image Society, 1411 Dufferin St, Unit B, Toronto
To register, fill out the form below. Please note there are limited spaces.
In this two-day workshop, Indigenous (Michif) filmmaker and animator Amanda Strong will guide participants in exploring techniques for creative and visual storytelling, directing, and staging stop-motion animations. She will share methods for powerful storytelling, working with a team, and leading a range of productions. Participants will have the opportunity to explore directing and storytelling processes through guided experimentation with puppets or are welcome to bring in their own puppets or objects for use in the workshop.
FREE and open to the public—advance registration required. This workshop is presented in partnership with the Toronto Animated Image Society.
Amanda Strong is an Indigenous (Michif) interdisciplinary artist with a focus on filmmaking, stop-motion animations, and media art. She is currently based on unceded Coast Salish territories also known as Vancouver, BC. Strong is the owner, director, and producer of Spotted Fawn Productions (SFP). Under her direction, SFP uses a multi-layered approach and unconventional methods, centered on collaboration in all aspects of their work. Strong received a BAA in Interpretative Illustration and a Diploma in Applied Photography from the Sheridan Institute. With a cross-disciplinary focus, common themes in her work are reclamation of Indigenous histories, lineage, language, and culture. Strong’s work is fiercely process-driven and takes form in various mediums such as: virtual reality, stop-motion, 2D/3D animation, gallery/museum installations, published books, and community-activated projects. Strong and her team at Spotted Fawn Productions are currently working on the research and development of bringing these works into more interactive spaces.
About the exhibition:
Parastoo Anoushahpour, Zach Blas & Jemima Wyman, Laurie Kang,
Alex McLeod, Pedro Neves Marques, Linda Sanchez, Amanda Strong
January 13-March 7, 2020
Blackwood Gallery, University of Toronto Mississauga
Curated by Alison Cooley
One of the greatest capacities of the medium of animation is its magic—the apparent bringing-to-life of a world of static objects, uncertain companions, and unruly agencies. Things move, they do, they feel the propulsion of awakened urgencies. This “magic,” in fact a technology of representation which cascades still images in order to undo the perceived stillness of the image, also illuminates a fundamental relationship between people and things. Animation activates non-human agency as observed by a spectator, a participant, a co-performer recognizing the coming-to-life of an object, an animal, a photographic or digital entity. It opens space for the sentience and sign-making capacities of other-than-human beings, invites non-human languages, unsettles anthropocentric logics. It “models the possibility of possibility.” In visualizing the liveliness of the non-human, animation complicates relationships with nature, technology, and the notion of time (still moments unfrozen, progress undone).
Animation, it turns out, opens opportunities to ask questions about the constituent elements of life: who or what gets coded as living? By what schema do we grant liveliness, agency, animacy to non-humans? Through whose technologies do we come to see life, and to identify with it? By what means might we refuse or refute ethnographic fascinations with animism, instead attuning ourselves to expanded frameworks for liveliness? Other Life-formings interrogates the conditions of coming-to-life along four lines of inquiry: capacities for movement, language, forming, and empathy. Across stop-motion animation, digital modelling, photo-sensitive interspecies collaboration, kinetic sculpture, and video installation, the exhibition tracks the precarious empathies enlivened by animation.
- Esther Leslie, “Animation and History” in Animating Film Theory, ed. Karen Beckman (Durham, NC: Duke University Press, 2014), 25-35.
*Note. We regret that TAIS is not accessible. Our studio has two steps up at the entrance, and the washroom is in the basement with access through stairs.