“Drift considers the body as landscape through close-up images of skin. The music likewise takes a close-up view of a series of harp chords and viola harmonics. Using real photography in extreme close-up creates a foreign yet familiar world, removed from reality, yet sometimes almost too close. In the music, this tension is mirrored. Original samples are exploded into a multitude of tiny elements before being reconstructed into a tight arrangement based on the Fibonacci series.” Specialten
| Director, Producer, Animator | Max Hattler |
| Asst. Animation | Andrew Denton |
| Music | Mark Bowden |
| Photography | Maja Flink |
| Cast | Cindy Tippett |
| Supported | Stadthaus, Ulm, DE |
| Conceived during an Aldeburgh Music Residency with the Camberwell Composers Collective | |
| Formats | 35mm, Beta SP, DVD |
| Length | 3’33” |
| Year | 2007 |
Drift is a collaboration with music composer Mark Bowden, devised during an Aldeburgh Music residency. Drift considers the body as landscape through close-up images of skin. The music likewise takes a close-up view of a series of harp chords and viola harmonics. Using real photography in extreme close-up creates a foreign yet familiar world, removed from reality, yet sometimes almost too close. In the music, this tension is mirrored. Original samples are exploded into a multitude of tiny elements before being reconstructed into a tight arrangement based on the Fibonacci series.
Specialten, issue 22, UK, 2008
Drift is a beautiful and mesmeric film, which examines the human epidermis in close-up, re-imagining our skin, its hair and pores, as landscape – growing, changing, living.
Paul Gallagher, Dangerous Minds, 2011
Drift uses close-up shots of the body reflected in glowing blue light to suggest a kind of human landscape.
Caitlin Leslie, Schön, issue 8, UK, 2010
Drift sees the body as a metaphorical landscape. Eerie and sometimes too close for comfort, the film aims to transform the familiar and mundane into something poetic and mysterious in order to create distance from closeness, and reflection from immersion … hair floats through the landscape and creates an oblique narrative, while three layers of sound unfold concurrently, creating an evolving wave of harp and viola sounds interspersed with granulated electronic frequencies.
Re-imagining Animation, Paul Wells and Johnny Hardstaff, 2008
The mood is at the heart of this piece. One part horror film and one part nature study certainly makes for a compelling mix.
Media Art Friesland, 2007
engrossing … Max is definitely one of the most original, startling animators around.
Ian Lumsden, Animation Blog, 2009
A haunting travel log of our most intimate inner space.
Animation Show
A film collaboration with composer Mark Bowden in which the body-scape and musical instruments are portrayed through extreme close-up shots.
Anima Mundi
A fascinating voyage in the ordinary seen from a non ordinary point of view. Epidermic, and still deep…
No Fat Clips
An intricately constructed, ultra close-up look focusing on a part of our bodies we all barely see and take for granted.
Melbourne International Animation Festival
This film … once again shows very clearly the trademark of the young artist [Max Hattler]: an enjoyment of the experimental.
Stefan Loeffler, Südwest Presse
It’s great to see abstraction at this level.
Jan Otto Ertesvåg
étonnant.
Fous d’Anim
A circular looping animation projection installation and award-winning abstract universe by Max Hattler.
In this stereoscopic installation two-dimensional abstract animation is turned into immersive images with strong three-dimensional depth. Utilising a two-screen, semi-Cave Automatic Virtual Environment, Vœrtex creates a unique experience for the viewer, a hybrid space situated halfway between immersion-in-abstraction and the real world of the gallery space.
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