1. The film is a superposition van 6 to 8 takes. In each take a piece of white paper, positioned horizontally, was moved by hand in front of the running camera.
2. In a sense the subject is the sensitive layer of the film. The filmed object is very simple: a white plane, delimited on one side. By moving this plane, and by an eightfold exposure of the film, an image arises of horizontal bands in various shades of grey. The film is without sound, which allows the "audience" to think up its own music to the film.
3. The idea is not very clear. There is more than one:
- The intention was to make a flat film. (The illusion of perspective depth is one of the means
of the common film by which the spectator is deceived).
The screen is flat, and so the projected image should be flat and not suggest any depth.
- A number of elements, each with his own movement, do have relations, sometimes wanted, sometimes
not wanted... This looks like... .
- A landscape unknown by men, barren, uninhabitable, moving eternally... .
(Bart Vegter, Hyères, 1981)
4. Pacifying flat film; with moving horizontal surfaces in various tints of grey.
(Filmbank, '04)
1. Inspired by music of Steve Reich. A rotating cube. By changing the colours of lines and planes different aspects of the rotating movement are shown.
2. In this film only a rotating cubic form of fixed dimension is used. The cube has the same dimension as the film frame. There is a continuous alteration between lines and planes , hard and soft colors, transparancy and opacity.
1. The image consists of compositions of planes, which originate from cross-sections of a cube. The planes move individually, in interaction which each other.
2. The planes resulting when you dissect a cube parallel to its three main axes are used as pictorial elements. By rotation and by dislocation, changes in form and composition originate.
Music by Ruud Spetter.
(Prod.: Jan Ketelaars, JURA Filmprodukties)
1. Consists of four parts each of which depicts its own abstract
variation on the theme of colour and movement. The only
shapes used are squares, which move back and forth over each
other in different tempos and colours.
2. On his wanderings, a man arrived at a crossroads, but didn't know which road to take. When DOUBT passed by, the man -far from homogeneous- easily tore apart into four little men. Each of these four chose his own road whithout hesitation and each had a number of adventures on his way. The earth is round, so eventually they met up again at the same place. They told each other their experiences in turn and hence became one man again.
Music by Floris Kolvenbach.
A computer-film in three parts. The images consists of 8 to 14 independent elements. Each part has its own, formal starting-point. On this formal basis, variations are executed by gradual changes in position, direction, movement, velocity and colour of the elements.
Music by Kees van der Knaap.
The image, consisting of points, changes gradually from flat into spatial, with the aim to catch that image which is nor flat neither spatial.
(Prod.: Gerard Holthuis, Filmstad Producties B.V.)
1. Processing noise with an algorithm produces moving structures:
"cellular automatons". These are used as a starting-point (material)
for the creation of "frases" of varied length, by selecting
different parts from the material in combination with color-modulation.
2. The astonishingly delicate, computer-generated Forest
Views, by Bart Vegter, suggests the processes not only of
blossoming and decay, but also, ironically, of the chemical
laboratory. The screen itself seems to sprout organic forms,
like a magnified Petrie dish. (Shannon Kelly, Sundance FF '01)
(Prod.: Gerard Holthuis, Filmstad Producties B.V.)
1. Zwerk is an abstract film that depicts an illusionary world.
The film is made with the purpose to create an opportunity to view something as it is.
What remains is a visual experience.
When making the film I let myself inspire by the words "at the edge of emptiness"
and by my interest in the field between chaos and order.
2a. Selfwritten software, light-frequencies and mesmerizing abstractions. Silent images which shift between stagnation and continuous movement.
2b. Zelfgeschreven software, lichtfrequenties en betoverende abstracties. Zwijgende beelden die laveren tussen stilstand en continue verandering.
(Filmbank)
3. In a piece that celebrates computer-generated art as pure abstraction, Bart Vegter explores rhythm, form, color proportion, development, climax and tempo to create a work that although silent is deeply musical.
(Anne Reecer, Cinematexas '04.)
4. An abstract, computer-generated work produced by using mathematical formulae to
create complex interference patterns in colour tinted layers.
(Mark Webber)
View the scroll-picture of Zwerk. This is a compilation of all vertical lines
in the middle of the film-frames.
(12000x614 pixels.)
= PRESS F11 TO GET SPACE ON THE SCREEN =
(Prod.: Noud Heerkens, Stichting Picos de Europa)
1.
A flat, monochrome image slowly evolves into a dramatic spectacle, where colour allows lines and conical forms to subtly dissolve and solidify. In the end, the colours loose their intensity leaving only the basic structure of the image 'the skeleton'. De Tijd is an abstract, computergenerated film in which colour plays the principle role. Following ZWERK (2004), this is the second film in which Bart Vegter uses Fourier-transformation, this time in three dimensions.
2.
Computer-animated abstraction in three dimensions. Slowly evolving geometric forms suggest sculptural figures and waning shadows.
(Mark Webber, LFF2008.)
3.Colorful, computer-generated abstract forms move through subtle transformations in this breathtaking film.
(Onion City FF, Chicago, 2009)