Faiyaz Jafri
Once upon a time in a galaxy far far away, everything turns rainbow, rainbow, and rainbow. Faiyaz Jafri is appropriately subversive, and a postmodernist. His artificial plastic perfect digital aesthetic is occasionally misunderstood. It is all good. He never set out to make Disneyfied art that can match the couch. His work is pop-surreal, post-everything, memetic, and hyper-unreal, infused with Jungian neo-archetypes, it is so different, so appealing.
Supersad (2018)
Once upon a time on a deserted parking lot, in a galaxy far far away, everything turns rainbow, rainbow, and rainbow... (more)
Once upon a time on a deserted parking lot, in a galaxy far far away, everything turns rainbow, rainbow, and rainbow... (more)
Miller Fisher (2016)
Miller Fisher amalgamates the distorted visual, physical and existential experience of an autoimmune disorder by the same name, with the aesthetics and vernacular of the animated GIF. (more)
Miller Fisher amalgamates the distorted visual, physical and existential experience of an autoimmune disorder by the same name, with the aesthetics and vernacular of the animated GIF. (more)
Natural Plastic (2010)
Natural Plastic is a metaphor for the delicate balance between man and nature. (more)
Natural Plastic is a metaphor for the delicate balance between man and nature. (more)
This Ain't Disneyland (2015)
A personal surreal account of the New York September 11 attacks, by juxtaposing the destruction of the Twin Towers and Disney neo-archetypes. (more)
A personal surreal account of the New York September 11 attacks, by juxtaposing the destruction of the Twin Towers and Disney neo-archetypes. (more)
Hello Bambi (2011)
Sway (2016)
A non-narrative computer-generated film that celebrates body hair and rock gods. (more)
A non-narrative computer-generated film that celebrates body hair and rock gods. (more)
Drowning Girl (2019)
A Post-ironic solution for Baudrillard's problem of the irreplaceability of the Twin Towers, transcending space and place driven by their vernacularity in virtuality. A film about the end of the world as we know it. (more)
A Post-ironic solution for Baudrillard's problem of the irreplaceability of the Twin Towers, transcending space and place driven by their vernacularity in virtuality. A film about the end of the world as we know it. (more)
Jack (2019)
Jack is naked. Jack is pretending to play guitar. Jack looks silly and vulnerable? This piece is inspired by the notion that the exposure of Jesus’ penis was to prove his humanity and vulnerability. Penis = Vulnerability. Penis + Air Guitar = Super Vulnerability. (more)
Jack is naked. Jack is pretending to play guitar. Jack looks silly and vulnerable? This piece is inspired by the notion that the exposure of Jesus’ penis was to prove his humanity and vulnerability. Penis = Vulnerability. Penis + Air Guitar = Super Vulnerability. (more)
Supersad(opus)_01
A tragic love story situated in virtuality and driven by virality, employing parallel and layered visual narratives. This digitally generated film is an exploration of VR aesthetics and merges slit-scan and lenticular photography with Edvard Munch’s The Scream. (more)
A tragic love story situated in virtuality and driven by virality, employing parallel and layered visual narratives. This digitally generated film is an exploration of VR aesthetics and merges slit-scan and lenticular photography with Edvard Munch’s The Scream. (more)
Long Live Belarus (2021)
Over 50 animators from 19 countries collaborated to support Belarusians in their peaceful protests for fair elections and freedom. The animators offered their interpretation of the recent events in Belarus, creating the animated chronicles of these dramatic events. ... (more)
Over 50 animators from 19 countries collaborated to support Belarusians in their peaceful protests for fair elections and freedom. The animators offered their interpretation of the recent events in Belarus, creating the animated chronicles of these dramatic events. ... (more)