Who: Brandon Tay, media artist
His aesthetic: It’s hard to crystallise Tay’s animations into words. They tend to depict strange, abstract figures morphing from or into alien landscapes that would not be out of place in a Bjork production.
One piece – Fertilising The Ovum (below), available for view on his Instagram account @brozm – shows an egg-like sac murkily transforming into a shape suggestive of a human face, before that too fades away.
Another shows an amorphous blob of half-formed human bodies and faces melding into one another, calling to mind the scene in Terminator 2 where the antagonist T-1000 android flails about as it melts under high heat.
And it’s just as well that his latest works draw on imagery from his dreams (he’s kept a dream journal since 2016). The 39-year-old favours juxtaposition and collaging because he finds that our existing visual vocabulary might not convey what he wishes to express.
“I think of my work as excerpts from a world perhaps unfamiliar and bizarre, but hopefully with its own internal logic that makes it relatable,” he says. The unique compositions have made him a go-to collaborator among fellow artists – he’s one half of State Sensor, an experimental multidisciplinary practice that explores the boundaries between culture and technology.
What got him started: “I got into computer graphics and animation after failing to become a photographer and filmmaker in my tertiary studies. I’m drawn to digital tools as they enable you to pull from disparate, often impossible sources to create something believably coherent.”
On Singapore’s animation scene: “Because of the pace in which new mediums and platforms emerge today, we’re living in a state of almost permanent future shock, which is both exciting and challenging for anyone wanting to grab a foothold in the industry.
People want sure ways of making a living and being recognised for their vision, but a lack of definition of what that might look like makes it viable for anyone to have a go.”