Shadows on the Wall

Shadows on the Wall begins with a simple but generative observation: a shadow is always evidence of a body that may or may not still be present. The gap between the shadow and the thing that cast it is never just a technical fact — it is a temporal one, a record of a presence that was here and may have left. The animation uses this gap as its primary subject, moving sequences of light and silhouette across shifting surface geometries without resolving the relationship between them. The result is a motion piece less about character or narrative than about inference — about what we construct from what we are given, and what we continue to hold onto after the source has gone.