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About Four Moves (1)


In designing a film, I do not use theories or formal rules, but more my intuition. As an aid to making a new filmwork, I use still photographs. Both the form and the color of the still image inspires me to find a series of movements, a movement structure, which I think belongs to the this image. So after shooting, I have a series of images instead of just one. What fascinates me in particular is the "dissolution" of the original image in the movements. What results is not the transition from image A to image B, but a moving whole. The images A and B can still be individually identified in the film, but have lost their significance. Something new has been created. The movement has become a quality in itself.

Bart Vegter,1988


About Four Moves (2)


In FOUR MOVES I used four sets of double squares, each set with a differing distance between the two squares. Through multiple exposures, the images in the film are more or less complex compositions of squares. When I see my own work now, after 15 years, it seems to demonstrate that movement is the consequence of not being content with a (static) image-composition. Continuous change as an answer to the fixed image.

The technique is cut-out animation. I used top- and background-light (coloured) together. Because of the multiple exposures, the colour-contrasts dissolve in more complex colour-combinations. When looking for the title, I was inspired by the English language, where the word "move" means not only to make a movement, but also to make an essential step in a game or a struggle.

Bart Vegter, 2002, catalogue Kinetica 4

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