Semester 2- Week One

Semester 2- Week One
Nathalie Djurberg's 'Claymations'.


Swedish artist Nathalie Djurberg's intricately constructed claymation films are both terrifyingly disturbing and artlessly sweet.


The new works created for the Venice Biennale explore a surrealistic Garden of Eden in which all that is natural goes awry.


She exposes the innate fear of what is not understood and confronts viewers with the complexity of emotions.

Nathalie Djurberg was awarded the silver lion for a promising young artist at the Venice Art Biennale 09.
(http://www.designboom.com/weblog/cat/10/view/6886/nathalie-djurberg)


1. What do you understand by the word 'claymation'?

Claymation is a form of animation. ‘A form of stop animation using clay’ (Para 1). Claymation was a term devised by Will Vinton who worked with artist in his studio to create these types of animations.
‘Claymation involves using objects or characters sculpted from clay or other moldable material, and then taking a series of still pictures that are replayed in rapid succession to create the illusion of movement.’ (Para 1).

(http://www.wisegeek.com/what-is-claymation.htm)

2. What is meant by the term 'surrealistic Garden of Eden'? and 'all that is natural goes awry'?

I’ve come to the conclusion that it’s her interpretation of the opposite version of the Garden of Eden. Compared to the original stories of its beauty, she’s definitely made the paradise grotesquely awkward, which make it interesting as a art piece.

3. What are the 'complexity of emotions' that Djurberg confronts us with?

Djurberg confronts us with a lot of information. The emotions can vary from anger to confusion to fear and even masochism. She portrays this very will with the use of her disturbing characters and the scenarios she has them in.

4. How does Djurberg play with the ideas of children's stories, and innocence in some of her work?

One of the many ways Djurberg creates such complex emotions is using the naïve figures of children stories. She plays on the idea of the innocent being not so innocent, which becomes relatable on our level.

5. There is a current fascination by some designers with turning the innocent and sweet into something disturbing. Why do you think this has come about?

Turning something innocent to something corrupt is kind of what our world has turned into. We’re bombarded with so much information that our generation tends to gain prejudices and other filthy habitats at a younger age. It fits perfectly in our society. It also can be said that innocence is over rated (http://articles.sfgate.com/2007-03-07/bay-area/17233740_1_sexual-encounter-innocence-nicely) and that the more grotesque outlook on things make for a more interesting design or work.

6. In your opinion, why do you think Djurberg's work is so interesting that it was chosen for the Venice Biennale?

The tremendous amount of time and effort that had been out into making such a complex film is amazing. The craftsmanship is very impressive and it not only looks good, but to have meshed to totally different ideas together and made it work, is just AWESOME! This definitely deserves to be the in Biennial.

7. Add some of your own personal comments on her work.
Just brilliant. I’ve never seen anyone do something quite like what Djurberg’s work. It’s a refreshing look on art. :D