Vancouver, Canada based Nicolas Sassoon has been working on massive GIFs that span the width of a browser and actually require scrolling. His latest work, Studio Visit, depicts a studio space complete with wall panels, a brick fireplace, and multiple LCD screens. Today Sassoon is one of the most interesting artists working in the field of GIF-making and new media. He shows all over the world and has been included in exhibitions at the New Museum, the Museum of the Moving Image, and the New Orleans biennial Prospect.
The body of work Sassoon has been producing there is called Pandora, which is the name of the street where the artist has lived, off and on, for the past four years. The series’ title also refers to small actions that have unforeseen and far-reaching consequences, and perhaps even to the darkness of the Internet. Sassoon’s pared-down aesthetic reflects that somber mood.
NYC-based artist Hayden Zezula mixes captivating visuals with the uncomfortable. His intention is to merge visually pleasing animation with creepy imagery, creating loops that toe the line between interesting and uncomfortable.
Zezula a.k.a. Zolloc’s website is filled with electric oceans, gravity-defying sludge, people made from bubbles, and worlds within worlds within worlds. Zezula’s eye for color and talent at creating perfect loops make each GIF a miniature journey into his daydream-fueled mind.
Animator Geoffroy de Crécy created a series of short animated loops depicting how deserted spaces and abandoned automated landscapes, left to perpetually continue in their motions, would continue to live on. Focusing on the machines we have created to make our lives easier, the machines in their loops seem very obsolete, almost sad looking.
The rolling sushi counter presents us with a continuous flow of perfectly presented plates, waiting to be picked up by the absent customers. Elevators and escalators are plagued by cans that keep them going, whilst the ski lift moves in circles, waiting to transport someone to the untouched ski slopes. These empty places show just how we have defined the landscapes and how redundant they would become without us in it.