I am currently in a relationship, however it's always been pretty open, so I'm still open to casual dating and meeting new people (especially artsy folk)!
I was born in Switzerland and raised in Austria, though my Dad's American and my Mom's Israeli. I grew up speaking English, so most people don't realize when they first meet me that I'm an ex-ex-pat. But my pop-culture gap inevitably kicks in and it becomes more obvious later on.
I studied set design and puppetry in New York, which was my home for 3 years, and then moved to London for a year where I studied motion graphics and worked on some music videos and cartoons. Now I'm moving back to New York (because I missed it THAT MUCH) and hope to do exciting things that produce results that I can share with others.
I would say I am generally regarded as an amiable guy, and I enjoy the company of a diverse group of friends. If I were an animal, I'd be a giraffe.
I'm pretty geeky, fairly smart, intellectually curious, and artistically passionate. I am interested in all forms of innovation, green architecture, forward-thinking design, etc. I enjoy dancing with others, and hope to improve my ballroom skills one day!
I am a freelance animator, motion designer and art director, currently based in New York. I have a BA in Scenic Design and Puppetry from Sarah Lawrence College in New York and a Graduate Diploma in Motion Graphics from Chelsea College of Art and Design. My background in theater influences my work in many different ways, particularly my enthusiasm for critical discourse and collaborative problem solving. I bring to the table a broad range of experience, and love working with creative thinkers on exciting and challenging projects.
If you would like to find out more or discuss an upcoming project, don't hesitate to contact me at
gabrielaronson@gmail.com
Here you will find a collection of my work in scenic design, motion graphics, photography, and other areas. Click on the left-hand side to choose which category of work you'd like to view.
I was looking over my series of photos with Katie O'Sullivan, and decided to revisit some shots that didn't make it into the previous line-up.
History Channel Competition (10/14/09) [View | Hide]
This past month I won a finalist spot in an animation competition sponsored by Aniboom and the History Channel! I was the community pick, voted to the number one spot out of about 250 entries!
This is a response to a brief that asked us to imagine a clock or ringtone for the iphone display. My concept is an alarm clock with an interface inspired by an orrery, as well as an old alarm clock. There are virtual 'pegs' that you can move around orbits to set the time. I liked the idea of time being represented on a continual scale, as opposed to a clock and a calendar seperately.
A short animated piece created as a response to research I did into Fischli und Weiss. My aim was to infuse geometric forms with personality. I suppose one might call it character animation in it's most basic form. Visually, I was inspired by the credit sequences of Saul Bass and Maurice Binder.
My work featured in "Broadcast Now" (6/28/09) [View | Hide]
A still and a brief description of my animation for Mitchell and Webb are featured in this article in Broadcast!
The story of Lorena and John Wayne Bobbitt in rhyme!
My Final Project for the Motion Graphics Graduate Diploma at Chelsea College of Art. Toy Theater Zoetrope Thaumatrope Jumping Jack After Effects Animation
Here are pictures of the set pieces I built last summer (2008) for Andrea Dezsö's stop-motion film The Demon Bridegroom.
We Got Time - directed by David Wilson (4/17/09) [View | Hide]
It's been a while since I've updated with my own work, since most of my time is gobbled up by my course. I have, however, been involved with some very exciting projects. Recently I helped out with a music video shoot for Moray McLaren's We Got Time directed by David Wilson of Blink Productions. This was an amazing experience, not only because it involved zoetropes, but also because I got to be in front of the camera! Granted, you only see my hands and chin, but it's an honor nonetheless.
Created for my course at the Chelsea College of Art and Design
This is a response to a type in motion brief. My goal was to create a pastiche of civil defense films as they might look cobbled together and screened on a broken projector, a reflection of Sarah Palin's paranoid and confusing statements. The audio is from her interview with Katie Couric.
Photos from my domestic horror puppet show "Crave"
"Crave" is the story of Antonia, a lonely woman who lives with her cat, and holds signs for a living. On her birthday, she finds a painting in a dumpster, which she hangs on her wall. Overnight, the leftovers in her fridge have disappeared. Perturbed, she goes to work. When she returns she finds a giant mess spilling from the fridge. She admonishes the cat, but soon notices that the figure in the painting has grown fatter. Not to mention the fact that she is holding a piece of cake in her lap. Terrified, she tries in vain to pry the painting off the wall, however it remains stuck. Determined to protect her food, Antonia chains the fridge door closed, and falls asleep, hatchet in hand, as she watches her favorite television show "As Lovers, As Cousins". A sudden feline squeal wakes her, and she discovers to her horror that her poor cat is trapped inside the painting! In a frantic effort to save the cat, she sinks the hatchet into the painting. The hatchet sinks into the canvas, gets stuck, quivers for a moment before being spit back out and hitting Antonia in the head. From the painting pours a stream of bile (we mixed beef ragout, and clam chowder for this... the audience got both a visual and olfactory experience!) slowly drowning Antonia in a sea of vomit. Thus is the charming conclusion to "Crave".
Performed by myself, Emma McCumber, and Eric Ugland, with Katie O'Sullivan as the Spirit of the Painting.
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