Pussykrew Talk Cadenza

PERFORMANCE | GLITCH | DARKNESS

PUSSYKREW TALK CADENZA - TEXT LUKE TIERNEY

Pussykrew have been making mad cool web 2.0 glitchy loveliness for a while now, quickly and quite easily becoming Word Is Cheap favourites. The creative duo, of Tikul and Andrzej, have been making the move more into performance something we hope kicks off so we get to see more and more of Pussykrew's world, like the flipside to a RUFFMERCY video. Here they've applied their techniques to dancers adding to their aggressive perfectly in step with the track. 

We sat down with Pussykrew to find out just how they create their art, what direction they want to take in it, and just why they are like they are:
Word Is Cheap: How did you develop your glitch style?
Pussykrew: Early days of Pussykrew (around 2004) were filled with analogue glitches, VHS hacking etc, then we started to experiment with digital glitches, such as datamoshing and visual programming patches that would allow us to distort and deconstruct the image. We had a few projects where we were creating live sound-reactive glitch content. We were kind of interested in a glitch as an art form for a while, yet since that time have moved more towards sterile aesthetics.

For the Cadenza video we were experimenting with displacement and the pixel sorter technique that our friend Kim Asendorf popularised a long time ago.
WIC: What were your inspirations when creating this world for Cadenza?
P: Our aim was to create a piece beyond the standard performance video. We presented the artists as 3D scans and fused them with digitally created environments. The vibe of the track is intense, and aggressive.

We were trying to recreate this atmosphere as a visual experience and produce powerful imagery, where the invisible violence is transformed into personal strength.

The video may seem dark at first, but this darkness is not hopeless, it’s a state of matter where one can be reborn and reclaim their mastery. We were envisioning an aftermath of a battle, some sort of weird cathartic occurrence.
Our interest and background lies in new media art / technology / video art / sculpture and cinematic-like artistry, our personal dreams and sensitivity are directed towards a sensual futuristic / neo-baroque like ‘cyber utopian’ drama
We decided to put the strong female characters at the front of the piece, as we thought they would be the best at translating the energy of the song and convey the message we wanted to communicate through the video. We were super lucky to work with two inspiring dancers - Melissa Moore and Kayla-Marie Gaskin.

For the styling we used some of the garments from our collaborative clothing collection, that we made last year with Long Clothing (Long Clothing x Pussykrew). We feel that our work reflects the nature of current times in many ways, we are filtering these everyday experiences and global issues and transforming them into painting-like scenes.
Maybe because of our eastern european bitterness or maybe because we also had to face a lot to be where we are now, we tend to look a bit deeper, under the skin, we usually see things as more complex and shadowy than most people around us
Maybe because of our eastern european bitterness or maybe because we also had to face a lot to be where we are now, we tend to look a bit deeper, under the skin, we usually see things as more complex and shadowy than most people around us. We tend to produce videos that challenge the rules of music videos and are a stream of subconscious images rather than an easy to read story. We treat it more like a digital painting.

Our interest and background lies in new media art / technology / video art / sculpture and cinematic-like artistry, our personal dreams and sensitivity are directed towards a sensual futuristic / neo-baroque like 'cyber utopian' drama. That’s why our visuals probably look more ‘ experimental ‘ than other music videos. We are always told by our peers that we have this specific style, probably because our inspirations comes from different directions than most of the videographers. We never thought about ourselves as purely video directors, rather open minded creative punks.

We also work in a truly DIY ethos, doing as much as we can ourselves and constantly learning, we like to have control over several aspects of creative work, this gives us more freedom and independence.
WIC: Did you enjoy shooting live action mixing with your CG?
P: Yes, definitely! This is the direction we definitely want to continue. In this video we wanted to focus more on live action and make only few scenes in cgi, in the end we kind of did half-half.

We were super excited to work with live action again and we are hoping to work on bigger productions this year. This of course doesn't mean we're gonna drop out of the cgi game. We would still like to continue to work with 3D animation, but we are keen to try out new ways and possibilities that are out there, and yes it would be nice to combine live action and cgi in a seamless way. For a while we were also planning to transform our cgi environments into gaming art pieces, hopefully it will happen soon.
WIC: How preplanned were the affects you added to the dancers?
P: We knew we wanted this video to be distorted, dynamic and quite fast. We wanted the dancers to have this digital feel. Usually we work in very organic and fluid ways. We try to execute concepts in the best ways, we have in the beginning of the creative process. However as they are being developed, new ways are popping up. So first we had a layer where we had only dancers and then based on that we started incorporating CGI shots after that we decided to add glitches etc. It is always a little bit of a compromise between what we wanted and time we had for a given project. It always starts with certain ideas but it really develops almost by itself as we progress with the video and sometimes we abandon initial thoughts if they just don’t work or exchange them for visuals which we feel fit better and create a more coherent whole.
WIC: Were you nervous when prepping for the live action shoot?
P: A little bit :) Although it was a pretty simple shoot, but just because we hadn't done any live action in a while we were concerned if it's gonna come out the way we have planned. But at the day of the shoot the stress was gone, we had the greatest small crew to work with ever and our producer John Curtis, together with the Diktator crew made sure that everything was prepared with the highest standards. Scanning session took place in London which couldn’t happen without help from Kim Jarrett from OB Management. It was a pure pleasure to work with all of these great people.

We have done some DIY style cinematic work in the past (doing production, shooting and post ourselves) When we started to work together, our practice was focused on film and video, we used mainly these mediums to create video installations and such. Later around 2012 we moved into CGI, but since a while we felt the need to experiment with live action again. We would like to continue to experiment with live action and try out the new tools that are out there, like VR camera rigs and such.
WIC: How did you create the 3D version of Cadenza? Did you also create a 3D world for Cadenza?
P: We were using 3D scanning to get the 3D version of the artists.

We went to London to scan Cadenza and Avelino, than Cadenza took our scanner to Jamaica to scan Assassin :) We are using consumer grade scanners (for example - structure sensor), we have used it in previous videos. We thought presenting the artists as scans would be accurate for the video, as we wanted to have two worlds in it - cgi environment with artists and live action with dancers.

The worlds have been built from altered available models but the main focus was on the monumental futuristic sculptures built from the artists scans. Since the beginning it was supposed to be a pivotal point of the video.

We simply cannot wait until the technology will allow us to create 4D scans in much easier ways. The ideal would be to have a rig of the size of our consumer scanner. Perhaps with VR and augmented reality blooming it is not so far away. We enjoy 3d scanning as much as filming and we are really looking forward to a moment when we will be able to film and scan in a seamless way and really have no limits when it comes to creating our worlds.

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About Pussykrew:
Pussykrew is a new media art duo. Their creative practices range from video installations, 3D imagery, videoclips and audio-visual performance to printed work and sculpture design.

Pussykrew explores post-human concepts, corporeal aesthetics, urban landscapes and fluid identities with their synthetic-organic notions, constantly searching for liminal states within the digital realm.

Website : http://niochnioszki.net/
Facebook : https://www.facebook.com/pvssykrevv
Instagram : https://www.instagram.com/pvssykrevv/

Word Is Cheap

word is cheap is the site to go to for all your music video needs. A site so visually stimulating it’s already banned in North Korea. You can dance if you want to.

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