Boundary Crossings provides participants with an opportunity to work closely with internationally recognized artists and scholars. Using a co-teaching model, PNCA faculty and Institute Director, Rose Bond has teamed with an impressive list of animator/media artists and intellectuals including: Dryden Goodwin, Suzanne Buchan and Paul Wells (UK); Paul Vester, Marina Zurkow and Norman Klein (USA); Kota Ezawa (Germany); Marieke Verbiesen (Norway); Miriam Harris (New Zealand); Old Boys Club (Katya Bonnenfant) France; and Pedro Serrazina (Portugal).
Suzanne Buchan is Professor of Animation Aesthetics in the School of Art and Design and Director of the Art and Design Research Institute (ADRI). Before joining Middlesex University in 2013 she was a professor and Director of the Animation Research Centre at the University for the Creative Arts, UK. She completed her PhD at the University of Zurich, lectures internationally and has been a Guest Professor at the University of British Columbia’s Department of Film, Theatre and Creative Writing, Pacific Northwest College of Art, and the Technical University of Stuttgart.
Kota Ezawa’s practice uses animated video to reconsider images from art history and popular culture, slide projections, light boxes, collages, and prints. His work has been shown is solo exhibitions at Hayward Gallery Project Space (London), Artpace San Antonio, and Wadsworth Atheneum Museum of Art. He participated in group exhibitions at Museum of Modern Art in New York, Whitney Museum of American Art, Warhol Museum, and Musée d’Art Moderne de la Ville de Paris.
Norman Klein is a critic, urban and media historian, and novelist. His books include: The History of Forgetting: Los Angeles and the Erasure of Memory; Seven Minutes: The Life and Death of the American Animated Cartoon; The Vatican to Vegas: The History of Special Effects; Freud in Coney Island and Other Tales; and the database novel Bleeding Through: Layers of Los Angeles, 1920-86. He is currently completing an interactive historical science fiction novel titled The Imaginary Twentieth Century.
Pedro Serrazina (1968) is an animation director and lecturer. He is currently undertaking a practice-based PhD at Univ. Lusofona de Lisboa on “The Creation and Use of Animated Space in Animation”. As a practitioner he is currently finishing a site-specific sand animation installation for the Museum of Jewish Culture in the North of Portugal (due to open in September 2015), and has a short animation film, “The Memory House”, in pre-production.
Paul Vester was born in Cambridge, England in 1941 and brought up in London. He is a filmmaker, animator and installation artist. He studied at the Central School of Art and the Royal College of Art in London, after which he worked as a designer, animator and director for several London production companies. In 1972 he established his own production company, Speedy Films. Speedy was built first on a series of short animations for Yorkshire Television, followed by, in partnership with Christian Gandon Productions in Paris, a run of French TV commercials which financed his film SUNBEAM (1980). Speedy afterwards produced many British and, later, U.S. TV commercials, winning numerous awards and financing his film, PICNIC (1987). With ABDUCTEES(1995) he was an early pioneer of the of animated documentary form. In 1997 he closed Speedy to move to Los Angeles. He is a Guggenheim Fellow for his film IN THE WOODS (2008). From 2006-2011 he co-directed the Experimental Animation Program at CalArts. Vester currently lives and works in Los Angeles, CA, and teaches at CALARTS.
Professor Paul Wells is Director of the Animation Academy, a research group dedicated to cutting edge engagement with Animation and related moving image practices. Paul is an internationally established scholar, screenwriter and director, having published widely in Animation and Film Studies, and written and directed numerous projects for theatre, radio, television and film.
Crossing multiple disciplines with her practice, Marina Zurkow builds animations and participatory environments that are centered on humans and their relationship to animals, plants and the weather. Engaging audiences using film and video, sculpture, print graphics and public interventions, Zurkow’s work is by turns humorous and contemplative. Through the experience of her projects it is clear that nature has long been a stage upon which we project ourselves, making ourselves other.