The Lives of the Most Excellent Artists

Research Background In cinematic practice the value of the visual effect lays in its potential to transport the viewer to sublime and unreal territories. In Southeast Asian experimental filmmaking visual effects are used in several ways. In Singapore there is Lynn Loo, who mostly employs in-camera effects such as double exposure and motion blur. In Thailand there is Taiki Sakpisit whose work features mostly practical effects such as crafted sets and props. In Vietnam, Thấu Hiểu employs similar practical effects, though they are augmented with simple digital effects such as morphs and greenscreen. If visual effects are visualised as a continuum, with the optical/practical on one end and the digital on the other, then the tendency of these artists (and Southeast Artists in general) is to employ the former. Research Contribution My solo one-off film screening 'The Lives of the Most Excellent Artists' consisted of seven short movies, all of which embrace the visual potential of high-end digital effects. With my strong technical background, I was able to seamlessly employ a wide range of advanced effects such as 3D scanning and modelling, compositing and 3D physics simulation. These are technologies more often found in Hollywood-level science fiction/fantasy movies. The overall theme, supported by the accompanying publication, is one where fear and neurosis is pictorialized through a fantastical lens. Research Significance The venue for this screening was Sàn Art, one of Vietnam's only independent project spaces, and founded by Dinh Q. Lê, Vietnam's noted multimedia artist. Sadly, with his recent death the space is now closed. The event was at the maximum capacity for the venue (35). Before their closure, I was in negotiation with Sàn Art for a follow up event. The event was supported by a mini publication. The design was self-funded, but Sàn Art supported its printing and dissemination.