- Art of the Sentence
- Book Clubbing
- Book Tour Confidential
- Broadside Thirty
- Carte du Jour
- Correspondent's Course
- Das Kolumne
- Flash Fidelity
- Flash Fridays
- Free Verse
- From The Vault
- I'm a Fan
- Lost & Found
- Tin House Books
- Writer's Workshop
Tweets by @Tin_House
Sign Up for News, Sales
News & Events
John Benditt in conversation with Nancy Pearl - University Bookstore Wednesday, February 25th, 7:00pm
Tin House Reels: Karolina Glusiec
For this week’s installment, Tin House Reels is thrilled to screen Karolina Glusiec’s thesis from the Royal College of Art, Velocity, which won the Jerwood Drawing Prize in 2012. The project was inspired by a trip to Glusiec’s hometown in Poland, where an expanding factory had cast the landscape of her memories into shadows.
“At that time I was drawing everything I remembered from this place, and was not using any photographic references,” Glusiec said. “I tried to depict people and places like I remembered them when I was little. It’s funny how fragmented and non-descriptive the drawings can be. [When] I started to show people my drawings, they could often tell me what they saw and how different it was from what I thought it was. So then, instead of making a documentary on a particular place, I decided to make a film about drawings and memory–how we can look at the same drawing and see it differently.”
Glusiec’s drawings are rough, monochromatic, and sketchy, a testament to how memories are recorded in the mind. Her charcoal traces create a sense of movement similar to that in the work of William Kentridge or the photographs of Etienne Jules-Marey. She plays with technique: recording flipbooks or drawing on a moving tape of paper, as in her short, Tape Drawing 1, in order to subject her drawing process to chance, unconscious hand movement, or real time. She has said that “drawing is a performing art, and the process of drawing can be an integral part of the ‘finished thing.”’
The narrative of Velocity is Glusiec’s own list-like memory of home, which was recorded by actor Dougie Hastings. She searched for a deadpan tone for the narration, first using a computer synthesizer before deciding on the man’s voice, which she asked him to strip of emotional cadence. She said that the images should be able to evoke emotion without the overdetermination of a strong tone of voice.
Screened at dozens of festivals across Europe, Velocity earned Karolina the best female director award at the Vienna Independent Shorts Festival. Her film questions the ability to recreate an image, either by memory or in drawing, and is a story about immediacy and forgetting.
Karolina Glusiec was born in Lublin, Poland in 1986 and spent most of her life in Siennica Nadolna, which is a small village in south-east of Poland. She studied Audiovisual Communication at the Graphic department of The University of Humanities and Economics in Łódź and received her MA in animation from the Royal College of Art.
Tin House Reels is a weekly feature on The Open Bar dedicated to the craft of short filmmaking. Curated by Ilana Simons, the series features videos by artists who are forming interesting new relationships between images and words.
We are now accepting submissions for Tin House Reels. Please upload your videos of 15 minutes or less to Youtube or Vimeo and send a link of your work to email@example.com. You may also send us a file directly.