Project Lead: Dee King & Corey King
Motion Painting and Short Film — 4 minutes
Acrylic Paint/Paper/Video/Printer Ink / Photography
Audio: Digitized Warped & Melted Vinyl 45’s & 78’s
2007 to 2011
Infinite Struggles, an experimental short about the nature of adversity and perseverance in life, examines the ultimate quest to find companionship. Using simple panted figures, the social and racial elements commonly cited as the source of our discontent are sifted away, distilling the struggle to its base elements.
About Infinite Struggles
Infinite Struggles began its long journey in late 2007 as part of Corey King’s study of animation and experimental cinema at the University of Manitoba. Being fascinated by the potential to build and change the genera of motion paintings through the use of digital pictures frames, Corey began his mission to meld video and paint in a more gallery oriented medium by playing with the organic and digital qualities of each. The need for a viewer to be able to start watching at any point, while still maintaining a semblance of plot was a component of melding the mediums in a more complete way. The pieces narrative and structure was designed specifically to meet this need.
His mission led him to shoot a series of interconnected live action vignettes, edit them together, and print the results frame by frame creating a 3:11 minute short that looped seamlessly and had no beginning or end scene.
Being unable to complete the work before the end of the school term, Corey only completed a dozen painted and scanned frames. Though the concept version received top grades, Corey became distracted by other projects; always regretting he lacked the skills and patience to complete it.
In 2009, after years of going back and forth as to whether Corey was going to finish the project, Dee King decided that the merits of the project were worth revisiting and so they decided to picked up the project from where Corey had left off. This marked the start of an intense 18-month painting period where Dee hand-painted nearly 3,000 individual frames and added a few free hand animations to the mix.
Greame Csath to help build an audio soundscape that felt like it belonged in Infinite Struggle’s world. To do this, Greame used similar methods of playing with the digital and organic elements of sound while shaping his score around enhancing, but not altering the tone and meaning of the original.