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Train No.6

Daniel Crooks, 30 sec, Australia, 2004, Digital Video.

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Produced and Directed by: Daniel Crooks
Sound: Byron Scullin
Location: Connex
Thanks: Daryl Taylor, Justin Rulton, Andrew Cassidy, ACMI MDS, Clare, Pip
Special Thanks: Miri, Elliot & Lucien
SBS Independent: Commissioning Editor: Glenys Rowe
ACMI: Executive Producer: Clare Stewart
ACMI: Production Manager: Philippa Campey
© Daniel Crooks

ARTV: produced with the assistance of ACMI and SBS Independent


Using Melbourne's urban landscape, Train No.6 extends Crooks' exploration of his 'TimeSlice' technique. A simple train is reconfigured across time to form mesmerising polyocular images.

Biography - Daniel Crooks

Born 1973 New Zealand, lives and works in Melbourne.

Crooks uses a complex range of techniques including stop-motion animation, time-lapse and precision camera motion control. His films and photography have been exhibited both locally and internationally. His solo show Time Slice was held at the Centre for Contemporary Photography, Melbourne, in 2002 and his work was exhibited in Primavera at the Museum of Contemporary Art, Sydney, and at ZKM in Germany in 2003. A graduate of the Auckland Institute of Technology and the Victorian College of the Arts School of Film and Television, Crooks has received numerous awards including the City of Stuttgart Prize for Animation, and a Dendy Australian Short Film Award at the 1996 Sydney International Film Festival.

Artist Statement - Daniel Crooks

'Using Melbourne's urban landscape as its subject, Train no.6 is a product of my ongoing TimeSlice research. By using machines to work outside of real time I hope to expose new modes of perception, breaking down the traditional correlation between time and space to imagine new ways of seeing. Precision motion control combined with sophisticated digital processing provides the freedom to explore alternative spatio-temporal representations, isolating and exaggerating the interwoven physical variables that construct perspective and motion. Further blurring the line between discrete and continuous, the monocular nodal perspective of the conventional camera is also disassembled and reconfigured across time to form extended polyocular images.'

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