A L'OMBRE DE L'HYPERBOLOÏDE

In several respects the films of Lucile Desamory savour of the work by Stan Vanderbeek, who extracted a style of his very own from an amalgam of film, drawings and stopaction animation – and it’s no coincidence that this style became a source of inspiration for the absurd animations by Terry Gilliam. But whereas Vanderbeek was strongly influenced by certain aspects of Surrealism and Dadaism, Desamory sets up a personal and often emotional world of the imagination from elements in cinema and pop culture and, particularly, her own universe of dreams and the imagination. In ’A l’ombre de l’hyperboloïde’, for instance, she has woven self-produced pieces of film and animation into an associative wickerwork, evoking childlike sensations of astonishment and dismay. The result is a world of reaching tentacles, hovering eyes and dancing organs, surrealist and impervious. Or as it was stated in a quote from the Belgian Mystic Marguerite Porete (1250 – 1310): “comprenez cela comme il faut, et non d’une façon humaine”.