Rubén Möller works as an independent animator in Vancouver, British Columbia, Canada. He pursues film and digital production to evolve his theory and practice of new media structures. Through his own production company along with television and theatrical organizations he branches out these ideas into industry and education.
The idea of SHEOL is quite simple: life in a grave. The mythology derives from the direct translation of the word 'cave', offering solace by elaborating notions of immortality. The need to embellish an eternal world from the physical conclusion of death holds a fascination.
Historically the belief preempts most current philosophies, spiritual or academic. It encompasses creation and destruction within a singular thought. Most ideology seems to stem from this point of reference, so it offers the possibility of new beginnings.
Many meanings branch from the word and inspire the work as I wrestled with the overwhelming pace of reality, so time accelerates in SHEOL. The experience of the film is slow and pensive to reflect a greater study of action and resolution. My conclusion so far is that SHEOL offers me sanctuary, most afterlife concepts do, but this space permits the notion that faith began in one place, on one world, by one universe.
SHEOL grew from an image of computer animated characters existing within the textured world of filmic space. Coming from a puppet animation background, and now working in the 3D-computer environment, the struggle between these two modes clearly evolved into this work.
The tension exists between the actual as opposed to the virtual space. Technology today presents an illusion of the two worlds meeting, not the reality. Film offers texture and depth beyond the scope of computers, whereas computers offer precision and control beyond the reach of filmic truth.
Both rely on a desire for realism and this threshold is constantly throttled. With new digital media, narrative and non-narrative forms within the scope of filmic space expand into new territory of anti-narrative or stem-narrative possibilities. Only now the industry begins to realize the awesome potential of these forms.
I contend a new structure is available and new language including both film and digital history is in order. SHEOL attempts to approach this possibility. Filmic and digital space mix without contention. Each searches for something that will push the work beyond its skill into the gestalt of imagination.