Paul Bush animation

Mock Duck Studios is an stop-motion animation studio, run by independent animator Astrid Goldsmith.
Based in Folkestone in Kent, Mock Duck Studios was set up by animation director Astrid Goldsmith in 2012, after a decade of industry experience as a model maker for film and TV. While making puppets and props for clients including Duracell; Ford Fiesta; Chivas Regal; Leeds Castle; Hammer & Tongs (Hitchhiker’s Guide to the Galaxy); and a weird commission for the boyband Blue, Astrid completed her debut short film Squirrel Island in 2016. Squirrel Island went on to compete at many top international film festivals (including Clermont-Ferrand, Tampere, LSFF, Aesthetica, and Warsaw Film Festival), and won several prizes for Best Film.

New Animation works…

A young girl spends the evening alone at home. She decides to have some sweet solo pleasure session, but not everything goes according to plan.

In this animated short, director Peter Foldès depicts one man’s descent into greed and gluttony. Rapidly dissolving and ever-evolving images create a contrast between abundance and want. One of the first films to use computer animation, this satire serves as a cautionary tale against self-indulgence in a world still plagued by hunger and poverty.

A selection of artists based in Kent

A screening of works

Single Channel work

Strangelove Festival 2019 invited artists to submit 30 second films, responding to the festival's theme of duration - reflecting our fast-paced consumer culture of digital media. Thirty seconds is: how long most adverts last, how long most people look at an artwork in a gallery, 12 breathes and an 0.008th of an hour.

Melanie Manchot’s Dance (All Night, Paris) focuses on the act of dancing in public and examines a range of meanings embedded in dancing as a collective experience. Collective dancing, is intrinsic and indigenous to all civilisations, including our own western cultures.

Queertopia curated for Daata Editions by Gemma Rolls-Bentley, features artists: Holly Blakey, Rindon Johnson, Zoe Marden, Rashaad Newsome, Hannah Quinlan & Rosie Hastings, Jacolby Satterwhite and Puck Verkade.’ The artists included in Queertopia straddle London and New York, two cities at a pivotal moment in their queer history.

This film is a sort of visual diary from March 2017 - March 2018, logging changing landscapes, people, weather, animals and collected conversations from Folkestone's bus passengers. Soundtracked by local musicians and friends.

The Slave's Lament, Graham Fagen, 2015

Single Screen version, Loop duration 14mins 33secs

 Originally produced for Scotland + Venice 2015, commissioned and curated by Hospitalfield, Arbroath.

Strangelove Time-based Media Festival are pleased to present Remains by Willie Doherty.

Willie Doherty was born in Derry, Northern Ireland in 1959. He lives in County Donegal and continues to work in Derry. 

Bodyscapes is a collection of new films by Japanese artists whose use of the body is central to their work – either as a landscape, a political metaphor or method of expression – the body acts as a vehicle and subject to communicate ideas. In Fuyuhiko Takata’s Little Mermaid inspired Cambrian Explosion, Takata’s character Princess Mermaid attempts to create his own legs by bloodily sawing his own tail in half. Aya Momose attempts to speak and converse with a goat, to share feelings of forgiveness and pain in her film, To Cuddle a Goat, a Poor Grammar Exercise. And in The Educational System of an Empire by Hikaru Fujii, the artist asks a group of young South Korean’s to reenact actions of historical colonial Japan upon the nation of Korea.

This new LUX touring programme brings together five early shorts by Ben Rivers, in new High Definition transfers, to coincide with the UK release on May 4th of his acclaimed feature film Two Years At Sea.

Exhibiting Artists: Niyaz Saghari, Vicky Smith, Katie Davis, Dani Landau, Laura Phillips, Melanie Clifford, Marcy Saude.

Curated by: Vicky Smith

Exhibiting Artists: Niyaz Saghari, Vicky Smith, Katie Davis, Dani Landau, Laura Phillips, Melanie Clifford, Marcy Saude.

Curated by: Vicky Smith

Grey Hound Cryme, Moving Image and Ultraculture

Curated by Hop Projects CT20

“The twelve short films in this programme, made between 1960 and 1993, reveal the astonishingly tireless talent of a filmmaker not afraid to grapple with sex and war, or to experiment with visceral soundtracks and brutal animation techniques.”

Fantastic Pleasure is a collaboration between DJ Scott Humphrey and Artist/Illustrator Jordan Gray, both based in Kent. The pair began curating parties in Margate in 2018, seeking to create a night that combines music with animation and installation with fun at its core. The result is an interactive and inclusive experience that aims to relieve people of their inhibitions by use of Cosmic Disco grooves from Scott and absurdly humorous projections from Jordan

“This film is largely filmed with an exploration of the film medium in certain aspects. It is also concerned with making certain conceptions about time in a more illusory way than I have been inclined to explore in many other of my films. It attempts to deal with some of the paradoxes of the relationships of the "real" time which exists when the film was being shot, with the "real" time which exists when the film is being screened, and how this can be modulated by technical manipulation of the images and sequences.

The film is in two parts joined by a central superimposition of the material from both parts. The first part is made from a small section of film shot by me in 8mm colour, and later refilmed in various ways from the screen in 16mm black and white. The black and white material was then printed in a negative positive superimposition through colour filters creating a continually changing 'solarization' image, which works in its own time abstractly from the image. The second part is made by treating very early black and white newsreel of a similar subject in the same way. As a two screen film the second screen has a black and white version of the whole film.” Words by Malcolm Le Grice

Michael Snow's film "Wavelength" has been acclaimed as a classic of Avant Garde filmmaking since its appearance in 1967. In February 2003, Snow created a new work consisting of simultaneities rather than the sequential progressions of the original work. WVLNT is composed of three unaltered superimpositions of sound and picture.

Wavelength For Those Who Don't Have the Time: Originally 45 minutes, now 15!

“This film is largely filmed with an exploration of the film medium in certain aspects. It is also concerned with making certain conceptions about time in a more illusory way than I have been inclined to explore in many other of my films. It attempts to deal with some of the paradoxes of the relationships of the "real" time which exists when the film was being shot, with the "real" time which exists when the film is being screened, and how this can be modulated by technical manipulation of the images and sequences.

The film is in two parts joined by a central superimposition of the material from both parts. The first part is made from a small section of film shot by me in 8mm colour, and later refilmed in various ways from the screen in 16mm black and white. The black and white material was then printed in a negative positive superimposition through colour filters creating a continually changing 'solarization' image, which works in its own time abstractly from the image. The second part is made by treating very early black and white newsreel of a similar subject in the same way. As a two screen film the second screen has a black and white version of the whole film.” Words by Malcolm Le Grice

Strangelove are pleased to present works collaboratively made by David Blandy and Larry Achiampong.

Michael Snow's film "Wavelength" has been acclaimed as a classic of Avant Garde filmmaking since its appearance in 1967. In February 2003, Snow created a new work consisting of simultaneities rather than the sequential progressions of the original work. WVLNT is composed of three unaltered superimpositions of sound and picture.

Wavelength For Those Who Don't Have the Time: Originally 45 minutes, now 15!

The Logic of the Birds was inspired by early 20th century photographs of Palestinian processions, showing people moving freely across the land, as well as by a 12th century Sufi poem about a group of birds who go in search of a leader only to realise, after crossing a landscape full of hardships, that collectively they are the leader they were searching for. The project began as a public processional performance with costumed actors in a remote valley close to the Jordan Valley – an area that is on a major trajectory for bird migration as well as being a route inscribed by infinite journeys of pilgrimage, exile and return. By working with a mythological story in the reality of occupied Palestine, the artist hoped to offer one of many possible scenarios in this controlled landscape that might open up a space for a potential future story yet to be created. 

The afternoon will begin with a rough history of video art by artist and writer Chris Meigh-Andrews who also will chair the programme, followed by presentations by Larry Achiampong, Jane England, Keith Piper and Lois Keidan. The invited speakers will each present their own personal ideas and approaches to issues that are relevant to their practice and show visual examples of their work. This will be followed by an opportunity for further discussion about past, present and future of time-based media.