The shadows strategy
FILE Sao Paulo 2022 | Anima+
Electronic Language International Festival
An experiment in digital 3D painting, “The shadows strategy” is the story of two alien cosmonauts, from an alien race that can manipulate their form as and when they wish; their planet has a problem and they send the two heroes to find an answer. After searching many planets they find an inhabited one, but find they are almost invisible; as they drift through this planet’s everyday life, they are hardly noticed. They drift into the head of an alien and find it quite comfortable there, until they realize it is all an illusion, a shadow, and they are alone in empty space.
Thomas Lisle is a British artist based in London. He works in digital 3D animation, painting, digital images and installations. His work references psychology, science fiction and the environment through the medium of digital 3D paint/sculptures; he has been making video and moving image art since 1983. Lisle studied at Jacob Kramer College of Art in Leeds, then at the University of Reading (Fine Art Department). His work has been featured in exhibitions and screenings in the UK and internationally since the mid-1980s. He has artworks in the collections of Tate Modern and Museum of Modern Art in New York. His recent animations have featured in festivals including Matadac Spain, Pixel Fest Moscow, Lumen Prize touring exhibition, Leeds City Hall, The Psychedelic Film and Music Festival NY, SFE.TV Art cable station in Germany, and FILE Brazil.
Lisle was one of the first artists to investigate glitch video in the 1980s and 1990s – notable projects include the Arts Council funded Fish out of Water, I, Claudius and Portrait of a Francois. Lisle used Glitch TV images which had a reference to painting and projected them through moving projectors. Lisle started developing his digital art works in the late 1990s and made a number of digital 3D animations which were shown extensively internationally. His digital work started with cubes, planes and particle systems and evolved into a more painterly adaptation in digital 3D.