New Works by Fons Schiedon

It seems that the talented Dutch animator and illustrator Fons Schiedon is always working on something interesting. We’ve written about him in the past (here and here), and more recently he’s been cooking up a variety of projects that are worth mentioning.

Fons Schiedon Painting

Fons has a painting show “Revolution Deformation” opening on November 6 at the Concrete Hermit (5A Club Row, London, UK). The show features various explorations of his personal character Jesus who “is an anamorphic figure that lends itself to the projection of ideas, and can withstand the intuitive process of painting, without losing its own features.” More info about the show on his website.

Also not to be missed is this delightful collection of key backgrounds and character designs that Fons created for the animated TV series Kika & Bob, on which he served as head production designer.

Fons Schiedon Background Painting

Last but not least is this striking loop of a walking woman that was projected onto a building last summer:


  • http://www.antoniolinhares.com Antonio

    Man those backgrounds are just stunning!
    I mean, the colors, I can’t even try to analyze it or think what the process was, it’s like… how?
    And the shapes are so simple and appealing.
    Good post.

  • http://doubleben.blogspot.com Emmett Goodman

    I’ve never heard of this guy. His stuff is fantastic. I hope to see more of this. And hopefully his stuff gets shown in New York at some point.

    His style is wonderful, and I love how he goes back and forth between graphic and swirling fluidity.

  • http://www.spitandspite.com Abel Salazar

    Wow. Wow. Wow.

    Amazing.

  • http://www.rafatoro.blogspot.com Rafa

    Fons is amazing , no matter what he does…
    Along Trussell and O´Reilly, one of my favourite artists .

  • http://rossphillips.net Ross Phillips

    As always, stunning stuff from the fonz.

  • http://www.birdo.com.br/blog Paulo Muppet

    Revolution is a really an appropriate name for his new series of paintings. I wonder what new media Fons will attack next, great artist in all levels.

  • Chuck R.

    Wow, I’m particularly impressed by the walking woman projection.

    We’ve seen a few projected animations posted on the Brew lately all of which left me a bit cold. They co-opt animation art mostly as a novelty (the way Kozic does) and try to bolster their cred with a half-baked artistic statement about cartoon violence.

    This is altogether different. From what I can see, the female forms are carefully observed and drawn, but halfway through they slip into abstraction to the degree that the motion (again carefully executed) is required to discern the female form . It works perfectly well as pure visual exploration, but the subject matter and scale leave it open to all sorts of interpretations. The nudity, far from being gratuitous, has an innocent candor to it that reminds me of Degas’ bathers. Maybe because the subject’s always looking the other way.

    Halfway through the video I was struck by how much the video resembles an ultrasound —the same black and white graininess and the same maddening tendency to tease the viewer as the subject flashes in and out of recognizability. The female form symbolizes two things equally well: the primal attraction which instigates creation and the vessel that carries and protects the developing child. The fact that this is projected outdoors while an ultrasound is viewed in the most intimate of settings is a nice ironic twist.

    My apologies if I’m reading too much into it. (I’m assuming the rough video is part of the art.) I absolutely love the blunt sincerity of Sheidon’s educational piece on puberty. It’s neat to see a common thread linking his commercial and personal work.

  • Diana

    I always wonder about the technical aspects of public projection. Whose building is used? Are permissions sought or necessary? How far away is the projector? What’s the throw? is keystoning an issue?
    I’m also amused by the people walking by, seemingly oblivious to the giant silent woman walking behind them.
    If anyone has process insights on this, I’d appreciate reading them.

  • http://www.fonsschiedon.com Fons Schiedon

    Many thanks to all for your kind feedback.

    @ Chuck. Interesting to read your thoughts.
    There is an element of ambiguity in this particular piece, and in a lot of my other work, that I always hope allows for associative thoughts such as the ones you describe. They’ll surely be different from how someone else would experience it, but that seems to me the interesting part.
    As for the recording of the installation: There was a fragility to the piece, being projected on that location, where at times it would almost appear ghost-like, challenged by the lights of traffic passing by. To capture that, is, as you point out, very similar to the effect of an ultrasound, where the visual information from the subject is regularly overblown by the visual noise of the capturing device caused by a lack of light (or the lack of data). Literally more impressionistic. In that sense the recording indeed is part of the work, or at least an extention of the experience. This, by the way, is also the reason why the “original” animation is not online. It would be half the story.

    @ Diana
    Just to give you a few answers from what I know.
    The building used here was a schoolbuilding. The projection was part of a design festival with 9 other projections in the city. There were various locations preselected by the festival organisation and permission was given by the building’s owners (based on a written proposal and a still/styleframe of the work). In this case, because of a big intersection deviding this building and the apartments across, the projector could not be closer than approx. 300 feet (it was sitting on the dinner table of an old couple actually, who were kind enough to have a – what I can only assume – oversized and extremely heavily breathing device in their livingroom for 4 weeks).
    Little side note on permissions..although permission was initially granted, the school objected after the first week, realising they had a suggestive image of a naked female on their facade. Their associative capacities seemed to be somewhat limited, which made it difficult for me to convince them of the potential positive effect the piece might also have. We were forced to replace it, and replaced it with an animated loop of a headless chicken. They were fine with that.