Rose Bond is a Canadian born media artist who lives and works in Portland, Oregon. Her short films have been screened in international competitions including Sundance and the New York Film Festival. Although her roots are in frame-by-frame, hand drawn and direct animation, her current work focuses on public site-based animated installations.
Bond has created large-scale, site-specific installations for a number of locations, including Broadsided! at Exeter Castle in England (2010) and Gates of Light at the Museum at Eldridge Street in New York’s Lower East Side (2004). Her multi-channel installation, Intra Muros, premiered at Director’s Invitation in the 2007 Platform Animation Festival and has been mounted internationally in the Utrecht City Hall during the Holland Animation Film Festival in 2008 and the 2011 Nuit Blanche in Toronto.
Bond received her MFA in Experimental Filmmaking from the School of the Art Institute of Chicago in 1990 and is now Chair of the Animated Arts department and the Institute Director for Boundary Crossings at Pacific Northwest College of Art.
Featured image credit: Still from PNCA.edu
Beyond the Gate (2016)
New animated installation by Rose Bond explores the relationship between the Chinese community and Portland with glimpses into the Chinese Consolidated Benevolent Association in the early to mid 20th century. This piece is part of the Beyond the Gate exhibition slated to open in March 2016 at the Oregon Historical Society in Portland.
Illumination #1 (2014)
Rose Bond reprises Illumination #1 at the Society Hotel in Old Town Chinatown – Portland Oregon in December 2014. Illumination #1, an animated sound and light show, reveals the interior lives of an historic 1881 landmark in Portland’s Old Town/Chinatown. Illuminating multiple windows through rear-projection, Illumination #1 explores 120 years of Portland cultural history in 12 minutes as viewers watch from the street.
Intra Muros – Zagreb (2013)
Excerpt from Rose Bond’s animated installation on the Media Facade of the Museum of Contemporary Art in Zagreb Croatia in 2013.
Nine windows across the stone front of an English castle provided the stage for Rose Bond’s most recent animated installation, “Broadsided!” which opened the 2010 Animated Exeter Festival. The piece, sparked by Bond’s research in the city archives of Exeter, takes a tale of petty crime and juxtaposes it against images of power, class and luck to question the very premise of justice. This starkly appropriate piece fit castle site – it served as the Devon Crown Court for the past 250 years, holding prisoners in its dark cellar until two years ago.
The past comes knocking as an animator struggles with creative malaise. Transformed from a Platform Festival street installation to the movie screen, ElectroFlux offers a voyeuristic and personal glimpse into an animator’s process, the rituals of creative process and inspiration that comes from the past: Norman McLaren, Len Lye, and Bond herself. Comedic, complex and cleverly attuned to time’s passage, Judith Gruber-Stitzer’s inventive soundtrack ranges from contemplative to cacophonous.
Intra Muros – Utrecht (2008)
Viewed from the public square in central Utrecht, Rose Bond’s Intra Muros was restaged by invitation in the windows of Utrecht’s Stadhuis (City Hall) during the 2008 Holland Animation Film Festival.
Intra Muros – Portland (2007)
Activating the public space as a Platform Animation Festival street installation in the Maytag Building, Rose Bond’s Intra Muros delivers a personal and voyeuristic glimpse into an artist’s struggles with creative malaise.
Studio Super Flat (2006)
Rose Bond’s animation for Studio Super Flat is drawn from her interpretation of the Little Boy exhibition, curated by Takashi Murakami. Little Boy explores the Arts of Japan’s Exploding Subculture.
Ward of Court: County of Origin (2006)
Ward of Court: County of Origin is a multiple lensed evocation of an endless procession of children carrying fractured family memories through a social service system with many revolving doors. The multi-media collaboration is based on Bond and Joella Jackson’s work with children and youth remanded to day and residential treatment centers.
Those institutional echoes haunt Heather Perkin’s textured soundscape as performers and projections make their way through layered transient spaces. Matt Cartwright’s steel and light sculptures suspend from the cathedral-like centrum of The Plant, a SE industrial design house in Portland, Oregon.
Gates of Light: Installation Excerpts (2004, 2007)
Video documentation of Rose Bond’s public, animated installation at the Museum at Eldridge Street. The Eldridge Street Synagogue is a National Landmark in New York’s Lower East Side. Situated in and springing from Manhattan’s storied Lower East Side, Bond’s animated installation evokes a haunting vision of the 120-year-old Eldridge Street Synagogue and its dynamic immigrant neighborhood.
Mu·ta·tion (Electrogals) (2003,2010)
Using animation from a 2003 dance/animation performance, Mu·ta·tion was presented at Electrogals 2010 in Portland, Oregon with an original score by Heather Perkins. Mu·ta·tion, a dance/animation collaboration, is based on the scientific query of how genetic research may affect us not only physically but spiritually.
Memoria Mortalis (2000)
A childhood memoir recalling impending parental loss. Using humor and haunting simplicity, Bond infuses the memoir with intelligence and grace that transforms the personal into a powerful cinematic experience—delving into the complexity of family dynamics, death and dying, and the germination and growth of the creative process. The memoir interweaves animations of seventh grade drawings with vintage TV footage, lost and found sound, and metaphoric imagery.
Celtic Trilogy (1997)
This richly imaginative trilogy consists of three short animated films by the celebrated animator and filmmaker, Rose Bond – Deirdre’s Choice (1995), Macha’s Curse (1990) and Cerridwen’s Gift (1987). Each of these dramatic renderings displays the spellbinding skills of a master storyteller, and each relates a gripping folktale taken from the oral traditions of pre-Christian Ireland.
All of the films were created in a cameraless, or “direct” style of animation by drawing and painting directly on the surface of clear 35mm film leader. Each film features original Celtic music and dramatic voice tracks with authentic accents.
The trilogy includes a short new explanatory introduction to the trilogy and the techniques used to create the imagery.
Salish World (1995)
Sacred Encounters: Father De Smet and the Indians of the Rocky Mountain West” is an historic exhibit showing, through European and Native eyes, the encounter and convergence of two worlds—those of Jesuit missionaries and the Salish-speaking tribes of the 1840s.
Salish World, an innovative seven minute audiovisual program evokes the power of the spiritual world of the Salish, a world where “everything is alive” and capable of transformation. In an abstracted lodge with floor soft like woven tule mats, viewers are surrounded by images of human and animal persons, of the land, and of human ceremony; the scent of cedar; and the sounds of nature and song. In a multi-screen presentation, viewers become part of the Salish circle of life.
Remote Control (1992)
An artistic interpretation of the Persian Gulf War and the strong relationship of television as the filter of the information. The film’s graphic images are equaled by the resonant soundtrack, ending with the painful cries of a child.
Woven images set the stage for a woman’s vision of discovery. Drawn and painted directly on 35mm film, Nexus explores connections between art and nature through symbols and patterns associated with ancient matricentric cultures. Zimbabwe marimba music performed by Sukutai provides upbeat accompaniment to this evocative piece as images metamorphose from abstract pattern to natural realism with joyous artistic ease.
Gaia’s Dream (1982)
Gaia’s Dream is a vivid animated film made by drawing and painting directly on 16mm clear film. Emerging from images which suggest primordial beginnings, a running horse becomes the focus of this rhythmic and abstract animation. At its climax, the horse is transformed and takes flight before disappearing into the sun from which it came. The musicians of Gwinyai performed a soundtrack of traditional music from Zimbabwe expressly for the film.