StandardVision Spotlight: Experimental Filmmaker Roman De Giuli Creates Mesmerizing Organic Work through Practical Effects
Experimental filmmaker Roman De Giuli specializes in organic visual arts, creating practical effects with everyday ingredients and without the use of computer-generated imagery. His compositions mainly consist of fluids, powders and colors which are applied on glass planes and petri dishes, arranged in stacks to create vivid, three-dimensional scenes that mimic otherworldly, almost topographical scenes of the natural world. For his work Chroma Galaxies—currently on display at the 8K lobby screen inside the US Bank Tower in Downtown Los Angeles—De Giuli explores fluidity and the motion of water through glittering, vivid textures and abstract narratives. StandardVision recently spoke with De Giuli to learn more about his process.
SV: You specialize in practical effects and experimental fluid art. How would you describe your work to someone who may not be familiar with it?
RDG: I work with a large library of paints, inks and pigments to create these visuals. The key is to put fluid elements in motion, be it on a piece of paper, in a fishtank or petri dish. Experimenting with fluid substances leads to many different visual effects which I learned to replicate and conduct within the last years. Many people think my work is computer generated but it is all practical and real matter.
SV: I see you have an extensive background in media production. Can you tell us a bit about how this work informed your process?
RDG: It is essential for my work to shoot colors in motion in the highest quality possible. To achieve this, it is helpful to have an understanding of what it means to capture light. Although my setup might appear simple, the technical aspect of camera, light and motion is vital and a big part of my daily work.
SV: Your work focuses a lot on the behavior and movement of organic patterns. What drew you to these aesthetics and concepts?
RDG: I was into abstract photography for many years and I was always fascinated by textures and surfaces on the macro scale, be it metal and rust, old wood, water…whatever. But the limitation with photography always has been the fact that I was capturing a moment but not the process. Everything changed when it became possible to shoot video with still cameras back in 2008. From that moment, I started creating images by directing what was in front of my camera instead of hunting objects and scenery which already existed. Over time, I established methods to develop visual styles with a scientific and artistic approach. I found out that it can take months to achieve what is on my mind and that it is all about precision and patience.
SV: Are there any recurring symbols or elements you consistently incorporate into your work? Why are they important to you?
RDG: I would say the only and most important element or theory behind my work is the motion of water, and the fact that fluid media follows universal laws of physics—be it on a small piece of paper or in nature.
SV: With regard to your films, are there any particular influences (particular films, directors, genres, movements) which have impacted your work?
RDG: Especially at the beginning, my experiments were highly influenced by many different filmmakers and visual artists. But I found out quickly that is does not help me to create something new to the human eye by relying on the work of others. However, the foundation of all my work is nature and planet earth.
SV: Do you have any exciting projects coming up that you’d like to share with us?
RDG: Yes, I have developed a machine-driven system which is able to create patterns and structures I cannot do by hand. The machine is called Emitter and it can draw fluid images like never seen before. I’ll keep you updated!
