Sand Artist | Charlene Lanzel is a US based sand animation artist who will pleasantly surprise your guests with her projected sand art storytelling. Charlene creates jaw dropping, one of a kind, live animated images with sand on a light box, synched to a dynamic musical soundscape. Sand animations are created right before your eyes, with irresistible charm. All eyes will be glued to the fluid artwork, shown live on the big screen. Charlene creates a sensory sand experience that goes above and beyond your expectations. The crowd watches with amazement and wonder, as Charlene draws image after image in sand. One scene flows magically into another, which brings positive engagement with your brand. This extremely impressive live sand performance creates an intense crowd reaction with positive excitement. It is a great way for guests to remember your bespoke theme. Guests will be interested and absorbed, and will certainly be talking about this wow factor at your next event!
projector
Projection Art
Sand animation is a form of live projection art, which utilizes a glass top table illuminated from beneath. Above the table is an overhead camera, connecting to a high power projector and screen system, providing both entertainment and instruction for today’s modern audiences.
While exploring some links between old and new formats, from the Camera Obscura to today’s digital technology, it seems that evolutions in projection technology often make the past fade away, as the future keeps moving ahead….
The Camera Obscura, similar to a pinhole camera, was developed back in 1604. It was a natural optical device using a lens and a very small hole. An image was projected reversed, or inverted, in a very dark room. It was often used as a drawing or painting aid.
In 1640, Athonasius Kircher, with his Magic Lantern, made one of the first attempts we know of to project drawings onto a wall. He drew onto separate pieces of glass, which were projected as static images. The glass plates were then moved from above with strings to change the scenes.
The Kaleidoscope was invented in 1815, which is an amusing ornamental toy with philosophical origins. The natural philosopher, David Brewster, designed it’s ever changing abstract patterns by accident when he saw reflections between plates of glass, bringing awareness to the underlying symmetry of nature. It is an optical instrument with crystals, mirrors and reflections, which is placed over one eye and rotated, creating beautiful changing patterns.
The Stereoscope of 1838, much like the modern Viewmaster, brought the viewer “closer “ to a scene with its spatial dimensions. When looking into it, two separate images merged with the eyes to create a single 3D image, which was considered quite fascinating at that time.
Eedweard Muybridge’s 1879 Zoopraxiscope was an early device created to display motion pictures, and may be the first movie projector. It projected stop-motion silhouettes and images, painted onto rotating glass discs, moving in a rapid succession, to give the impression of motion. Many of his films showed complex animal and human movements.
In 1889, Edison’s Kinetoscope showed films, viewed by one person at a time, through a peephole viewer. It was not a movie projector but was instrumental to the birth of the American cinema culture. Jenkins & Armat’s Vitascope projector, first demonstrated in 1895, went from being called a toy to an instrument or machine. Considered natural magic with practical applications, and with equal emphasis on both amusement and instruction.
The year 1894 saw the joining together of engineering, electricity and chemistry. This began the mechanical transfer of the animator’s world onto the screen. By 1895, with the Birth of Cinema, the creation of virtual worlds were then filmed. The first use of animation in movies began when Georges Méliès built one of the first film studios in 1897. He went on to create over 500 films, mostly short one-shot films, produced in just one take, including A Trip To The Moon in 1902.
German silhouette cutout artist, Lotte Reiniger, started creating animated title cards in 1917, around age 18. She invented the multiplane camera in 1923, with her husband and creative partner Carl Koch, using multiple sheets of glass to create depth. This multiplane camera was used for her first color animation "The Adventures of Prince Achmed", released in 1926, which was considered to be the first avant-garde full-length animated feature. She made more than 40 films with her invention.
In 1928, Mickey Mouse took off with Steamboat Willie, the first cartoon that had synchronized sound. Soon after, in 1932, Disney released it’s first full color film Flowers & Trees, followed by Snow White and the Seven Dwarfs in 1937, which was their first feature length film. Snow White raised cartoon drawing to the level of art.
Sand animation was invented in 1968, by Caroline Leaf, for her project at Harvard University. Her first animated film was "Sand, or Peter and the Wolf", which she created by moving sand with her hands on an illuminated glass surface. By the late 1990’s, sand animators began demonstrating their works of live animated art to large audiences, adding a projector and screen. The sand artist’s projected, live, storytelling performances explore the relationship between real and virtual spaces, and create emotionally immersive environments which provide both entertainment and instruction. Live sand animations are currently projected large scale onto a mega screen, using the latest in digital technologies, and synched to a live or recorded soundtrack.
Are you fully utilizing the projection screens at your venue? You can add a futuristic, artistic and informative element to your event with a living sand animation, the latest trend in projection art.
Reserve Charlene today for your next project or event!
Interview with Sand Artist | Charlene Lanzel
1. How did you first discover sand art/sand animation, and what was the most important deciding factor in you wanting to do it?
Sand animation was pioneered by Caroline Leaf in 1968 with her animated film project “Sand, or Peter and the Wolf” for an undergraduate class at Harvard University. As a child, in 1973-74, I saw two animations by Eli Noyes, another Harvard graduate, on the PBS television program Sesame Street. They showed her animated films “Sandman” and “Sand Alphabet”. I was really fascinated with it, but at 6 years old I was a bit too young to think about doing it myself. By 1989, I started working as a professional artist and mural painter. In 2004, I saw a video of Hungarian artist Ferenc Cakó’s live sand animation performance being passed around in the early days of the internet. Cakó was responsible for turning sand animation into a live performance. At this point, I had been working as a fine artist and muralist for many years already. In 2009, a Ukrainian sand artist, Kseniya Simonova won “Ukraine’s Got Talent” with her emotional sand animation performance. Her sand video went viral around the world. A associate of mine mentioned that sand animation was becoming desirable for corporate entertainment and events. Mural painting work had become scarce, due to advances in digital technology. I needed something new to do, a new way to make a living. I knew I had the necessary skills and experience to do it. So, I spent a year teaching myself sand animation, and posted my first sand video on YouTube in January 2011. Two weeks later I was scouted to perform at a party for Cirque du Soleil, and I’ve been traveling around creating sand animations ever since. One of the things that I love most about sand animation is that it is an ephemeral art form. It lasts only in the moment, and requires the living presence of the artist to happen.
2. Do you believe that creating art is just a hobby, or something much more? Why or why not?
For me, making art was always something I wanted to do for a living. I told my mother I wanted to be a commercial artist when I grew up. I started painting at age 5 and never stopped creating. Art is what I’m best at, and something that I can contribute to society. Being a professional artist is not an easy path. It requires focus, hard work and determination. It’s not for everyone. It’s for someone with an entrepreneurial mind, as well as a good skill set. I started out as a window display artist and through that I began painting murals. I’ve done fine art paintings and shown my work in galleries. I’ve worked for jewelry designers, and made my own jewelry as well. I have also worked as a sign painter and a street painter. It’s important to be flexible and to be aware of trends.
3. What is a message you would like to send to those who may want to pursue an art form such as this?
Sand animation is an advanced art form which requires a huge amount of time, hard work, focus, patience and practice. You will need drawing skills, an understanding of shadow & light, a dancer’s flow and coordination, and a steady hand. It may not come easily. There will be a lot of trial, error and mistakes. Don’t be afraid to make mistakes. Learn from them. You will also want to learn music and film editing as you grow into the art form.
4. Did you ever experience someone ridiculing or mocking you for doing this, and if so, how did you overcome it?
All of my life, people have told me that I couldn’t be, shouldn’t be, and wouldn’t be an artist. I’ve proven them all wrong. When someone tells you that you can’t, it’s usually because they can’t. The cause is often jealousy and fear. Listen to your heart and do what’s right for you.
5. In your opinion, what is the most difficult thing about sand animation?
The most difficult part of sand animation are the transitions from scene to scene. You want a smooth flow from one image to the next. It has to look pretty in all stages of development, even when scenes are changing. Synching with a soundtrack is also challenging. There’s a lot of back and forth between the music and the artwork, until a time balance is achieved.
6. How long do you plan to continue with sand animation, and what would you do after?
I plan to do sand animation as long as I can earn a living at it. Hopefully, that will be for a long time. But, because it is so time consuming, if the work flow stops I’ll have to put my focus elsewhere. I’ll keep making sand art films, even if I stop performing live. I’ll stop when I run out of ideas. After that, who knows. Something creative, for sure. As long as I’m creating, I’m happy. Happiness is my goal in life.
7. If you weren’t doing sand animation, or it had never been created, what would you be doing right now instead? Why did you choose not to do that thing?
If sand animation had never been created, I would be painting, which is what I did before and still do. I like trying new things. I’ve thought about creating sand mandalas, but I don’t like working outdoors on hot pavement. I also do acting, sometimes, but I’m a bit shy with my voice.
8. What impact do you believe your artwork has made on the community?
People have often told me that my sand art is inspiring. It inspires a sense of awe. It tells stories and showcases new ideas. It makes people happy... and that’s the goal. Happiness.
9. Who has been your biggest motivator to continue doing what you love? How does this person inspire you?
David Bowie always inspired me, just by being his unique self. :)
Interview by Chloe Docks, a student at South Elgin High School, doing a project for her English class by researching information about sand art.
A Sandbox of Stories
(Re-posted from 07/14/2014)
"A Sandbox of Stories"
by
Caithlin Pena
She stands in a darkened room, a sandbox with light underneath filled with sand in front of her, a mounted camera projecting the images onto the screen behind her. Her dark hair is clipped neatly on the back, her fingers devoid of rings. “I Just Fall In Love Again” by the Carpenters filled the space as she takes two handfuls of golden sand and, like a baker working with flour, sprinkles them onto the lighted glass. When the glass becomes lightly covered, she begins to create.
Simple lines at first, forming the silhouettes of buildings. Then she brushes the excess sand back to the sides. She is going to need them later. She dots her fingers down the buildings, two-by-two, creating windows. Soon, the buildings all have glowing windows, provided for by the light underneath the sandbox.
Grabbing another two handfuls of sand from the sides of the box, she lightly sprinkles the sand on the space above the buildings, creating the night sky. Next comes the stars as she dots her fingers across the sand on top of the buildings. A moon comes next, a lone crescent in the starry sky. Her eyes do not leave the lighted glass of the sand box, her brow deep in concentration as she continues to brush her fingers across the surface, sprinkling more sand, pressing against the sand, drawing on the sand. Soon, she has created a road, a car, the heads of a man and a woman kissing under the light of the moon and stars. It’s a nice picture. You think it’s over, that the performance is done, and that the piece is finished.
In an unexpected twist, she brushes away the buildings, the car, the stars, and the moon, simply leaving the two lovers on the glass pane. She sprinkles more sand on the empty space before pressing her fists against the sand, creating a wavy pattern. Taking one more handful of sand, she carefully sprinkles on the tiny silhouettes of a man and a woman, standing on top of their larger counterparts, holding hands. A heart and some rays of sun later, she finishes the piece to the end of the song with two words on the top, left side corner, “Be Mine.” And then, the video ends. That piece of sand animation is titled, “Valentine,” created, performed, and filmed and posted online by Charlene Lanzel, a dark-haired, bright-eyed woman with magic hands.
Lanzel is a freelance artist of various art forms. One of her specialties is performing sand animation, a performance that requires weeks of preparation for a five minute performance.
Lanzel discovered sand animation when she became interested in Buddhist philosophy. In 2004, a friend and fellow artist sent her a video of Ferenc Cakó, a Hungarian film artist, who invented the live art form.
On a Tumblr blog created by Cakó fans, the biography states that he started doing sand animation in 1988, along with clay animation, which won him a Gold Palm in Cannes that year. In 1996, Cakó performed sand animation live and with music for the first time.
Sand animation, or sand art, is performed in total darkness using a sand box with a light. A camera projects the image in the sand box onto the projector screen, showing the audience a variety of images. The only tools used are sand and the artist’s own two hands. The animation is normally accompanied by music.
“I just fell in love,” she said. “I was just so drawn to it, and I could actually picture myself up there doing it.”
Before she was a sand artist, Lanzel painted murals. Born in Wisconsin to visual artist parents, she was exposed to various forms of visual art such as drawing, painting, and ceramics. She moved to New York when she was 20 years old and began her career as a professional artist. She worked in the art department of Unique Clothing Warehouse, a center for fashion in the 1980’s. She became the Art Director until the store finally shut down in 1991. She then became a freelance mural artist.
“I’ve been an artist all my life,” she said.
She later began working for Silver Hill Atelier, a mural painting company in New York, where she had the chance to travel nationally and internationally and paint murals for various places and companies. Her works were featured in restaurants, casinos, amusement parks, and even residential homes. She even worked on murals for Godiva Chocolatier and two Disneyland parks: Disneyland Tokyo and Disneyland Hong Kong.
“I was doing really well as a mural painter,” she said.
Lanzel also had a brief history in performing in a cabaret show.
“At night, I was a showgirl,” she fondly recalled.
The emergence of digital technology eventually affected the business of mural painters, including Lanzel. With art being done digitally in this new age, she wanted to try something new and different. This is when sand animation entered her life once more in 2010.
“And then I remembered this art form and how much I loved it,” she said. “So I thought ‘let me give it a try and see if it’s something I can do for a living.’”
So, in her own little studio, Lanzel built her own wooden sand box attached to a light box and a camera. She taught herself the art through experimentation with different styles and techniques. She was a master by the time 2011 came around and began posting videos of herself performing on Youtube. It was a perfect match.
“The sand art brought together my art work and my performance into one thing,” she said.
Within weeks of posting her first video, Cirque du Soleil, one of the biggest theatrical producers in the world of circus arts and street entertainment, found her video. The company invited her to perform for the opening party of Zarkana, Cirque du Soleil’s famous acrobatic show.
“That was my first gig,” she said. “I was really nervous, especially because it was Cirque du Soleil.”
Performing for a large crowd was not a first time experience for Lanzel, but nonetheless, it was a wonderful feeling. One video was all it took for her career to take off.
“I felt so lucky,” she said.
Lanzel said that there are only a handful of professional performance artists for sand animation in the world who can perform live. Two can be found in the United States. Lanzel is one of them.
“It’s quite rare,” she said. “You can watch videos online, but it’s very rare to see an actual live performance.”
Back in 2012, sand animation was featured on NBC’s “America’s Got Talent” where an artist from Richmond, Joe Castillo, made it to the semi-finals with his live performance. Another sand artist, Kseniya Simonova, was also on “Got Talent” in Ukraine back in 2009, where she won the competition after performing sand animation live.
Sand animation is not simply drawing pictures in the sand as you would at the beach. According to Lanzel, it is “a very meditative art form.”
“It requires me to really go deeply within myself to kind of conjure the story,” she said. “I have to be able to not only create a nice image, that image also has to be able to transform into another scene.”
In the case of her “Valentine" piece, it started off with a perfect night in the city, calm and romantic. The final piece was not this calm, romantic city scene, but of the two lovers standing on top of the world. Lanzel managed to create the story of the two lovers without the need for words, only sand.
Lanzel remembers performing at a convention sponsored by Silpada, a jewelry company. This happens to be one of her most memorable performances in her career as a sand artist.
“It was there that I received my first standing ovation,” she said proudly.
The experience was unbelievable to Lanzel.
“I can’t begin to express how good that feels for an artist,” she said. “Because normally, we’re just working alone in our studio. We don’t get to have that kind of recognition, so for an artist like me, a visual artist, it’s very rare to be able to experience getting a standing ovation.”
Lanzel’s pieces and performances vary, often depending on her clients’ requests or suggestions.
“I try to make the pieces emotional,” she said. “Because that’s what really grabs people.”
Nature scenes are common in her pieces.
“There’s nothing more beautiful than nature,” she said.
Because of the amount of time for her come up with full piece, Lanzel only take on a few custom pieces per month.
“It takes me about two or three weeks to create a custom animation,” she said. “I like to be able to give my full attention to each project.”
In addition, Lanzel also has her ambient performances, pieces she creates herself. Her ambient performances are a mix of the different pieces she performs in the videos found on her Youtube page. She combines these to create one big story, about 20 minutes long.
“It’s kind of like a film,” she said.
Sometimes, the music is pre-recorded. Sometimes, it’s performed live by a band. But the music Lanzel chooses for her performance, as well as the images she animates, all convey a message.
“There’s a lot of back and forth between the music and the artwork,” she said. “They go together. I can’t imagine sand art without music. The music takes it to a more dramatic level.”
Lanzel currently resides in New York City. She still travels around the country and around the world, performing and spreading her art to a wide variety of audiences. In addition to performing for top companies like Google, Geobeats, and Fusion Productions, she also gets invited to perform at festivals, weddings, and even dinner parties. Sand animation is an art form that can be integrated and performed anywhere. Lanzel calls it an “ephemeral art form.”
“It only happens in the moment,” she said. “I spend about two weeks of my time coming up with a new piece, only to be performed once, usually. So whoever is in that room, gets to see that effort. It’s a very special thing.”