Metta Makers 10.21.17 Visual Display Set

I was provided with the incredible opportunity to curate a multimedia set for an amazing metta makers  event on October 21. I want to say thanks so much to everyone involved with the event, specifically @travelwith_dylan for putting it all together. My designs among many others were featured behind live sets by @_kia_music and @lunarsundance- would definitely recommend giving them a listen!! 

I've also put together a collaborative spotify playlist to go with the visuals so please feel free to add your faves! All recommended songs are included in the mix.

Here is the set playlist with links!! <3

Synaptic was my first creation, an experimental video remix.

recommended listen: tea leaf dancers by flying lotus 

Jump Cut was my second piece in the set! 

recommended listen: computer face // pure being by flying lotus 

BONUS VIDEO that I made by remixing all of my material!! 

recommended listens: Ttktv by Injury Reserve 

Ocean by JMSN

Cadillac Dreams by SiR & Big K.R.I.T

Commodo- Hadi Hadi Ah- video by the legendary Ruffmercy

Automatic Deliriums- awesome collage animation by Dedo Ciego

Music video for RIVE- Vogue. Crazy art by Julie Joseph !!

Music Video for Kingdom Crumbs- Evoking Spirits. Hypnotic Animation by Ori toor 

Another one of mine is Spook Loop, a halloween themed piece inspired by inktober! The lovechild of toonboom and after effects. 

recommended listen: no sass by photay

tesla by flying lotus  

This CRAZY video is definitely enhanced by its soundtrack. Bulgarian artist Theodore Ushev skillfully manipulates hand-painted imagery to turn this melodic symphony into a trippy sensory experience.  

The delightful insanity of "Slowly Rising" was created by Hideki Inaba- totally otherworldly. 

Another gem by Ruffmercy for "Time Off", a track off of Washed Out's experimental visual album "Mister Mellow". 

Thanks for watching and there will be more to come soon! 


This project was born out of a series of threads that all sort of came together, one of the first being a simple sketch two months prior to the original pitch. I think that sometimes when we make things without thinking about them, our subconscious is discreetly setting pathways that we will be able to connect the more we pay attention.  

 Around this time, one area of intense visual fixation for me was the ominous beauty of industrial machinery. Although these structures and what they represented frightened me, drawing them was somehow cathartic. Making them a fixture of my art allowed me to express my indignation at an apathetic society slowly poisoning itself. The appropriation of them into figurative imagery also drew an interesting connection between industry and the individual, and how we are encouraged to think more like machines than human beings for the sake of productivity.

One night I was sketching and I drew another factory. I wasn't really thinking much about it, but the more I looked at it I realized that in the structure I had drawn there was a subtle but clear hierarchy in the architecture. The top was ornate and elegant, while the bottom was grotesque and chaotic. There were even human features like eyes and mouths that pipes funneled through. The more I looked at it the more I noticed that the structural differences represented a society that was built off of struggle, labor, exploitation, and poverty.

Shortly after that I was walking home one day, and all the imagery that had compounded sort of formed this visual story in my mind. I could see everything very clearly; vivid colors, moving shapes, and symbols that represented the concepts I had been trying to express. It felt like this capitalist system was a sick game that we were all forced to participate in. Like we were on a roller coaster swinging drastically from growth to recession, constantly repeating the same mistakes. The more I thought about it the more the imagery kept accumulating. 

Right around this time, we were discussing our senior projects, and even though this idea seemed a little ambitious to turn into an animation, something I had never really done before, I knew I wanted to do it. There were so many logistical obstacles, the biggest being that I would have to construct the project while simultaneously learning to use After Effects, which was the most compatible program for my workflow. To try to draw some connections between the concepts and the visual symbolism I made a series of storyboards and an animatic which I showed to my class.

I was really inspired by a short film I had watched called "The Tale of How" by the BlackHeart Gang, a South African studio of concept designers. The imagery was so intricate and beautiful, and the movements, although simple, really provided a platform for the story. I was also really inspired by the set designs of Cirque du Soleil and by a project called "Dismaland" created by Banksy and a series of other artists who had constructed this cynically backwards amusement park to shed light on the hypocrisies of consumerism. The idea of turning the economy into some kind of nightmarish carnival seemed so ominous and creepy, which was the exact vibe that I was going for.  As said before, the roller coaster bears close resemblance to the economic growth and decay curve, and the sharks stomach strongly resembles a circus arena, representing the hellish pit of debt that induces the violence of class warfare. And the detached hands in corporate suits smashing the resistance look a lot like a sick game of wack-a-mole.

Color is very significant in this film. The first world we encounter is red, setting a tone of danger and chaos. The white world, which is the third scene we encounter, is symbolic of a new chance at redemption, but it is infiltrated by corruption. And the symbols of greed and corporate dominance all possess a similar design. They feature many similar elements, such as gears and pipes to symbolize production, and mouths to symbolize consumption. Even though the machine, boat, and shark all have faces and an anthropomorphic quality to them, they are all the same dark color scheme to imply a sense of soulless avarice. 


I wanted the film to play on a continuous loop to reiterate that we are stuck in a never ending cycle, but the idea of never being able to escape this nightmare seemed too cynical. I decided to include an alternate ending to show that we do have the power to change our fate, if we can manage to revisit our resistance strategy. I thought it would be interesting to incorporate natural elements into the final scene to juxtapose all of the industrial imagery. Including a hopeful prospect where growth and a new beginning were possible seemed really important


Pre-production, which lasted from October to December, was mostly dedicated to crafting the right imagery. After building each element in photoshop, I would assemble them in After Effects and make each element move in tandem with one another. This phase of production, which took place mostly in January, was the most condensed and arduous part of the process. After Effects was more complicated than I ever could have imagined; the user interface was like photoshop but infinitely more complex, and there were so many different things to account for when animating.  I started to find tutorials explaining pre-compositing, time remapping, motion blur, camera rigging, effects and expressions, and tons of other tools that really expedited the speed of my workflow.  

Post Production was also a complicated process because it involved timing the video to correctly fit the musical score, which I sourced via soundcloud. After creating each scene in one master document with all the different moving pieces unflattened, I rendered them out as mp4s and put them into a new file, where I worked primarily on time-remapping to fit the audio. I knew what kind of sound I wanted but commissioning someone to create a custom piece of audio could have been endlessly frustrating and expensive. Then I found push pull live, a DJ from Santa Catarina. When I listened to his song "Chakras" I knew it was perfect for my film so I emailed him asking if I could use it, and he agreed. His tracks are definitely worth a listen! 

When I put the entire video together and lined it up to the music, it was about five minutes of looping footage before reaching the ending, which was undeniably repetitive. The more I researched and watched other animations, the more I realized that dramatic transitions and jump cuts really helped to make these films so dynamic. So I cut down the audio and began to work on building the drama I wanted, which involved cutting up my preexisting footage and creating some new short pieces to incorporate.  

This piece has really been a struggle and a joy to work on. It made me realize that animation is definitely something I want to continue doing and I really want to thank everybody who supported me, gave me feedback and helped me to believe in myself. My family, my professor Ralph Giguere, and my friends really built me up during this time and this project wouldn't exist without them! Thank you everyone, and keep an eye out, there is certainly more to come :)