The film is linked to all of the drawing history that I have and functions as a heritage of that to compose my drawing style. As our time period now has video-ized our lives, I guess I had to express myself with a video format too (couldn’t wait for it) and my first wish was to explore labor within the golden age of drawings in movement, the techniques, the depth, etc. These are the things I try to play with in my paintings as well, with different shapes and the intention to mark the surface.

Patterns, half tones and so on, they all come from the mechanics of the printing process to get comics done in the early years. I try to compose the aesthetic crumbs of paper printed comics, to contextualize it now with a mash up of lines, plans and landscapes. I’s a combat to read subjects, but dynamism leads you to a certain “road” that takes you to an organized confusion. The vocabulary is the movement and not the finished aspect of the drawing quality. The constant flow that comes of as fluid matter is supposedly putting you (the spectator) in a position of a witness.
Usually drawings are controlled, not trying to expose the technical aspects of animation, without demonstration of the mastering style, the preciseness of key frames and the perfect iconic poses. To me, what remains is a window of pleasure of making it move and having it go where I want it to go, while dropping the rules of classic animation for bigger productions and showing the part that I like the most: composed movements in space.

Tuffroad is completely hand drawn. Video editing made possible with Armand Beraud.