Nick DenBoer is a Canadian film and music video director from Toronto, Ontario.

DenBoer was born in Clinton, Ontario on 25 December 1979. He moved to Toronto, Ontario in 1998 and studied at the Ontario College of Art and Design for 2 years before dropping out. He then started a construction company in Toronto while working in video and animation business on the side. In 2009, production work became the focus and he started Generic Versatility Inc., a video production company.

DenBoer has directed and produced three music videos for Canadian electronic music artist deadmau5, including Monophobia in 2018, Drama Free feat. Lights and Pomegranate, a collaboration between deadmau5 & The Neptunes, both in 2020. Nick directed and produced the critically acclaimed short film The Chickening, a visual effects remix of Stanley Kubrick's "The Shining", where he and co-director Davy Force used visual effects to alter the film's characters and scenery to create a new story. The Chickening was featured in many film festivals most notably the Toronto International Film Festival in 2015 and Sundance Film Festival in 2016. Nick is also credited as a visual effects artist of the feature film Kuso by Flying Lotus and on the music video Fire is Coming By Flying Lotus featuring David Lynch.

In 2020, DenBoer directed and executive produced an ad campaign called Virtual Influencer Colonel Sanders for Kentucky Fried Chicken through the ad agency Wieden+Kennedy, which won a Webby Award for best use of social media. The campaign featured a lifelike, computer-generated incarnation of Colonel Sanders and portrayed him as a virtual influencer on social media in a series of images. He has directed and produced many other advertising projects for the companies and brands such as KFC, Old Spice, DC Shoes, BBC, Adult Swim and Red Bull. among others. Prior to his advertising work and music video directing debut, Nick worked as a bit creator on Conan O'Brien, and worked for Team Coco from 2012 to 2015, producing political satire and pop culture clips for the show. Nick is responsible for creating the series Alex Trebek has Gone Insane which was a recurring bit on Conan's monologue where he took clips from the show Jeopardy! and cut up Alex Trebek's words and rearranged them through editing to make Alex say absurd sentences. Nick also created the recurring Conan monologue series If they Melded where he took celebrities' faces and swapped them onto other celebrities.

In other news, Rick Owens Fall 2021 fashion show. On the subject of underthings, the pentagram briefs from the January men’s show reappeared here wrapped around evening clutches, the implication being that these alien females had handled the “unhinged male aggression” that those briefs signified.

DenBoer's done work for Conan O'Brien including a series of supercuts, but he's probably best known for a parody of The Shining that he and a buddy produced called The Chickening.

NICK DENBOER: JUST ANOTHER DAY AT THE OFFICE

Based between Istanbul and New York, the duo ha:ar consists of the sculptor Hande Şekerciler and digital artist Arda Yalkın, They are pursuing a new form of expression by blending their individual practices. Both share an admiration for classical art works and new technology. They pride themselves in mastering a wide range of production methods ranging from traditional sculpture and painting, to digital video, animation, 3D modeling together with current mainstream media aesthetics. Overall their practice is informed by questions relating to the civilization we create, the technology we produce, and conflicts we generate with our way of being, 

Their work has been exhibited internationally in galleries and museums in Turkey, USA, Spain, Italy, France, England, Greece and Russia.

In the Impossible Sculptures series, ha:ar recount the grand narratives to comprehend the new era by exploring the possibilities of digital sculpture. They use the products of the technological revolution, which is the obvious actor of this paradigm shift, to describe the new cosmology. However, they create a process in which the concerns and efforts in the intellectual, anatomical, aesthetic planes come together, just as in the sculptures produced in the physical environment.

These impossible sculptures are sprinkled on a 3-D plane starting from a point on the screen, paves the way to a story that can flourish in any direction in a digital universe. In the new universe of infinite possibilities, the duo aims at portraying the reality of today's everyday life, which is more and more digitally defined and experienced, by juxtaposing it with philosophical and mythical narratives.

In the Impossible Sculptures series, ha:ar recount the grand narratives to comprehend the new era by exploring the possibilities of digital sculpture. They use the products of the technological revolution, which is the obvious actor of this paradigm shift, to describe the new cosmology.

Something’s in the water in the latest experimental film collaboration from Saint Laurent, this time written and directed by iconic independent filmmaker Jim Jarmusch. Featuring an impressively high-profile cast and moody, stylish production, “French Water” is a surreal exploration of absence, connection, and time.

The film begins and ends on a shot of a blueish-purple carpet with a swirling, fractal-like pattern. Though this detail seems innocuous, it reappears again and again throughout the film, as if Jarmusch were obsessed with it. Coupled with the densely shifting electronic soundtrack, the infinitely spiraling purple haze of this carpet sets the tone for the film.

The camera pulls back to reveal the scene, a slickly chic hotel lobby bearing evidence of the aftermath of a high-class party. A lone waiter stands amid the remains, glasses of water at the ready. Soon Julianne Moore and Chloë Sevigny arrive, apparently playing themselves. Through their dialogue that feels almost too naturalistic against the film’s highly stylized production, we learn that they are a looking for a friend, while also lamenting the fact that their friend Charlotte (presumably Gainsbourg) couldn’t make it.

And yet Gainsbourg seems to be haunting this place like a jolly ghost. Recalling the surrealist film techniques often used by David Lynch, she pops in and out of frames unpredictably and with an air of nonchalant self-satisfaction. Inexplicably, the waiter seems to be the only one who can see her. Gainsbourg is also the only character who never partakes of his mysteriously symbolic water from France.

This simple yet impenetrable narrative unfolds over the course of the film’s nine minutes, punctuated by moments of surreal beauty and impeccably chic costume changes. Eventually, Julianne Moore and Sevigny meet up with Indya Moore, the friend they have been looking for this whole time. A moment of striking realism occurs when they all put on masks to go outside – pulling us out of the film’s sense of timelessness into the present day, and casting an even deeper sense of mystery over what has come before.

It feels as if the film is both an homage to and a slight parody of French surrealist cinema.

Though it is much more committed to style and feeling than story or character, which means it demands patience if we are to make an emotional connection with it, our patience is rewarded as we can find something deeply relatable in its strange dialectic of isolation, togetherness, and the liminal space in between. In keeping with Jarmusch’s dual sense of being an American filmmaker with a global approach and outlook, there is also a subtle consideration of the interplay between French and American culture.

The film marks the second of creative director Anthony Vaccarello’s experimental film collaborations for Saint Laurent, the first being Gaspar Noe’s which debuted last December. While the two films are very different stylistically, they are both thoughtful explorations on the intersection of fashion and film, and excellently executed collaborative projects. Noe psychedelically terrified us, Jarmusch refreshed us with a tall and strange drink of water, and we are thrilled to see where Vaccarello will take us next.

Review of Summer 21 ‘French Water’ Film by Jim Jarmusch – Saint Laurent Creative Director Anthony Vaccarello with Director Jim Jarmusch and Charlotte Gainsbourg, Indya Moore, Julianne Moore, Chloë Sevigny, & Leo Reilly.

SAINT LAURENT SUMMER 21 'FRENCH WATER' FILM BY JIM JARMUSCH

Dario Vilanova aka Oxeegeno is a freelance 3D artist based in Argentina.

Three-dimensional (3D) models represent a physical body using a collection of points in 3D space, connected by various geometric entities such as triangles, lines, curved surfaces, etc. Being a collection of data (points and other information), 3D models can be created manually, algorithmically (procedural modeling), or by scanning. Their surfaces may be further defined with texture mapping.

3D models are widely used anywhere in 3D graphics and CAD. Their use predates the widespread use of 3D graphics on personal computers. Many computer games used pre-rendered images of 3D models as sprites before computers could render them in real-time. The designer can then see the model in various directions and views, this can help the designer see if the object is created as intended to compared to their original vision. Seeing the design this way can help the designer or company figure out changes or improvements needed to the product.

Today, 3D models are used in a wide variety of fields. The medical industry uses detailed models of organs; these may be created with multiple 2-D image slices from an MRI or CT scan. The movie industry uses them as characters and objects for animated and real-life motion pictures. The video game industry uses them as assets for computer and video games. The science sector uses them as highly detailed models of chemical compounds. The architecture industry uses them to demonstrate proposed buildings and landscapes in lieu of traditional, physical architectural models. The engineering community utilizes them as designs of new devices, vehicles and structures as well as a host of other uses. In recent decades the earth science community has started to construct 3D geological models as a standard practice. 3D models can also be the basis for physical devices that are built with 3D printers or CNC machines.

3D modeling is used in various industries like film, animation and gaming, interior design and architecture. They are also used in the medical industry to create interactive representations of anatomy. A wide number of 3D software are also used in constructing digital representation of mechanical models or parts before they are actually manufactured.

Mcafee Design and Drasko V joined forces in this collaboration to create a series of audio-visual nfts and one-of-a-kind physical manifestations of the Polymorphism universe in the form of physical sculpture and 12” vinyl EP.

Drasko Vucevic is a media artist, creative director and sound designer. Currently living and working out of Los Angeles, California. He is the founder of Drastic Studios, an interdisciplinary creative studio with focus on the intersection of sound, design, art and technology.

Drasko is creating strategy, content and complete immersive experiences in the digital and physical space. His deep interest for connecting technology, art and human interaction is the foundation behind his creative concepts.

As a creative director, Drasko creates and directs digital experiences such as interactive websites, mobile, VR and AR applications. and interactive installations. He has worked with clients and brands such as Warner Brothers, National Geographic, Williams Martini Racing, Symantec, Relativity Media, Playboy, TED, LA Tourism, DSE, Art Gallery of Ontario, Audi, Mazda, and more.

"As a sound designer, I have licensed my music and sound design for brands and film trailers including: Tenet, Wonder Woman 1984, X-Men : Mutants, Blade Runner 2049, Atomic Blonde, Hellboy, American Horror Story, Alita Battle Angel, Gravity, Ad Astra, HBO Max, Disney+ and many more."

As a media artist, Drasko’s creations include audio-visual experiences in the form of video, live performance, and physical interactive installations for public environments. Drasko’s music and visual work has been featured in documentaries such as PressPausePlay, Red Bull TV, Web designer magazine, Computer music magazine, TEDxToronto event, Santa Monica city art installation (in progress) and more.

Drasko regularly contributes his time and resources towards educational and creative initiatives and organizations. He has been a guest lecturer, speaker, performer, judge, mentor in fields of marketing and advertising, music industry, and education.

Drasko’s mission is to innovate new ways of how art is created, experienced and interacted with in the digital and physical environments. To remove the gaps between the art, the experiencer and the environment. To create a more direct and immersive relationship between art, technology and ourselves.

"My work is known for blurring the line between traditional, hand-drawn techniques and 3D digital tools. The pieces are often set in the Mecha Ascent universe -- a world in which the beings that inhabit it have very unconventional methods of locomotion. Inspired visually by classic retro-futurism and psychedelia themes."

Polymorphic is an audio-visual journey set in the polymorphism universe: a surreal and dreamy environment where the beings that inhabit it have very unconventional methods of locomotion — visually inspired by themes of psychedelia, retro-futurism and pop surrealism.

Omentejovem is an artist and a 3D designer based in Rio de Janeiro, Brazil.

In 3D computer graphics, 3D modeling is the process of developing a mathematical coordinate-based representation of any surface of an object (inanimate or living) in three dimensions via specialized software. The product is called a 3D model. Someone who works with 3D models may be referred to as a 3D artist or a 3D modeler. A 3D model can also be displayed as a two-dimensional image through a process called 3D rendering or used in a computer simulation of physical phenomena. The 3D model can be physically created using 3D printing devices that form 2D layers of the model with three-dimensional material, one layer at a time. In terms of game development, 3D modeling is merely a stage in the entire development process. Simply put, the source of the geometry for the shape of an object can be 1. A designer, industrial engineer or artist using a 3D-CAD system, 2. An existing object, reverse engineered or copied using a 3-D shape digitizer or scanner or 3. Mathematical data stored in memory based on a numerical description or calculation of the object.

3D Models may be created automatically or manually. The manual modeling process of preparing geometric data for 3D computer graphics is similar to plastic arts such as sculpting.

3D modeling software is a class of 3D computer graphics software used to produce 3D models. Individual programs of this class are called modeling applications.

Omentejovem creates three-dimensional models, animations, and visual effects to be used in various creative projects such as films, video games, and advertising campaigns. This occupation involves creating special effects to match specific briefs using a combination of hand-drawing techniques and computer software.

At first, it was a self-portrait. I tried to make myself—my weak self, my pitiful self, my anxious self—into a joke or something funny that could be laughed at…It was sometimes seen as a parody or satire referring to contemporary people. As I continued to think about this, I expanded it to include consumers, city-dwellers, workers, and the Japanese people.

Ishida came of age as a painter during Japan’s “lost decade,” a time of nationwide economic recession that lasted through the 1990s. In his afflictive paintings, he captured the feelings of hopelessness, claustrophobia, and emotional isolation that burdened him and dominated Japanese society. From his early career until his untimely death in 2005, Ishida provided vivid allegories of the challenges to Japanese life and morale in paintings and graphic works charged with dark Orwellian absurdity.

In nightmarish scenes, suited figures made in Ishida's own likeness but possessing machine or animal parts are depicted being boxed and repaired, like helpless objects. Foreground and background are rendered in equally meticulous detail and this intricate compression of layers intensifies the sense of entrapment. The stoic male subjects seem accustomed to their cyborg limbs and dreary surroundings as they carry on in their shared routine. Some men are fully merged with household objects, reduced to little more than functional but inanimate tools and furniture.

Tetsuya Ishida was born in Yaizu, Shizuoka, Japan in 1973, and died in Tokyo in 2005. Solo museum exhibitions include Sumpu Museum, Shizuoka, Japan (2006); “Tetsuya Ishida: Canvas of Sadness,” Shizuoka Prefectural Museum of Art (2007); CB Collection, Tokyo (2007); and “Tetsuya Ishida: Self-portraits,” Nerima Art Museum, Tokyo (2008). Selected group exhibitions include “Asian Avant-garde,” Christie’s London (1998); “dis-communication,” Sungkok Art Museum, Seoul (2007); “Chaosmos ‘07: In the Face of Sadness,” Sakura City Museum of Art, Chiba, Japan (2007); and “Tetsuya Ishida and Shizuoka-related Artists,” Hamamatsu Municipal Museum of Art, Shizuoka (2009). A survey exhibition of Ishida’s work, “Notes, Evidence of Dreams,” was on view at Ashikaga Museum of Art this fall, and will travel to Hiratsuka Museum of Art; Tonami Art Museum, Toyama; and Shizuoka Prefectural Museum of Art (through 2014).

In nightmarish scenes, suited figures made in Ishida's own likeness but possessing machine or animal parts are depicted being boxed and repaired, like helpless objects. Foreground and background are rendered in equally meticulous detail and this intricate compression of layers intensifies the sense of entrapment. The stoic male subjects seem accustomed to their cyborg limbs and dreary surroundings as they carry on in their shared routine. 

TETSUYA ISHIDA: I TRIED TO MAKE MYSELF—MY WEAK SELF

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