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Review: Luis Gonzáles Palma

"Every project is a small failure, this is why we continue with another one."

-Luis Gonzáles Palma

I attended an artist lecture given by Luis Gonzáles Palma which occurs in conjunction with his exhibition in The Tweed Museum of Art, A Silent Unity of Gazes. Palma is a native of Guatemala, born in 1957. He studied architecture and cinematography at the Universidad de San Carlos de Guatemala. Palma reflects on social constructs, such as couples and families and the violence that invades these relationships. He also comes from a Catholic tradition, though he expresses his break with a system based, as he sees it, on guilt. His exhibition includes mostly photographs, some hand painted or chemically altered. He stated that he begins with black and white photos and then uses chemical tones to produce the sepia effect. Palma uses gold leaf in a good portion of the work on display. He uses Kodaliths embedded in resin with the metal which gives the work a mystical shine and the illusion of inner light. Palma uses the phrase "impossibility of love" to describe the central issue in his work. However, he admits that now that he has had children his outlook has softened and he views love with more hopefulness and possibility though the intense difficulty is still impressed on his thinking.


Developments in Animation.


One of the things I have noticed in the media world are the advances in animation. Specifically the absence of hand drawn animation.
Ponyo is a good example of the minority of productions. The Studio Ghibli and Hayao Miyazaki go through storyboards and sketches. For example, in the opening sequence with fish, undersea creatures, and watery effects, 1613 pages of conceptual sketches were needed to fully develop the scene. More than 160,000 animation cels were created for the film.
Compare this film with other recent animations: 9 , Up , Monsters vs Aliens , Kung Fu Panda , and Wall-E.

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