Studio SMACK (2016) Paradise and Hieronymus Bosch’s Garden of Earthly Delights (c1495-1505)


Seeing this animation first time a couple of weeks ago, the FB feed has reintroduced me, just as I had come back from my fielwork for taking analog images for the current assignment.

This time round, I looked more closely at Bosch’s original painting and some of its interpretations: earthly sin, the fall of (wo)man; notions of earthly pleasure or innocence, or in fact an ironic commentary on the Habsburg Empire’s pursuits of earthly delights.

What interests me in this?

  • the contemporary interpretation in format/medium as digital animation of one the key pieces in the Western art historical canon
  • the overflowing mess and abundance of the imagery, its animation and the inability to take it all in.
  • the theme of pleasure/desire

All these, in different forms are relevant to my current assignment work.

I ordered a recent publication on Bosch’s original work, mainly for the high quality reproductions of the details in the painting and a sense of current state of interpretation of this work which has been interpreted so vastly differently over time.

I will update this post with some more research details as they emerge.

Below a high resolution image of Bosch’s original work (source:



moving image repository

… starting a collection of short animations that interest me (and possibly the ways how they circulate, can be traced to sources)


  1. deer woman bird (just)

Search for origin:

earliest I can find it is 15 Jan 2012 smile emoticon…

similar images, search by timeline

not clear if this is the animator (ambiguous auto translate):…/to-jsem-z-toho-jelen/

and there’s plenty of muybridge plates of women undressing; and a deer cycle…

>> I mistook it to be a 1920s piece: the aesthetics and the subject matter placed it for me in a surrealist past. I find it incredibly joyful and irreverent: a day is good when it starts like this (though I am uncertain what this ‘this’ actually is).


2. woman with gloves


search discovers it to be Eva Green in The Dreamers (Innocents), Dir, Bernardo Bertolucci 2003

>> this sits entirely elsewhere to (1) in relation to author – object (not subject) – viewer. The short looping makes it appear relentless. So, is she statue or agent? I am frequently unsettled by the audacity (?) to make me imagine she is without arms. And curiously, by having seen the film sequence, of course that impression would sit entirely different: I would know by then that this woman has two arms. Here, in this GIF that question is the opening gambit – or possibly it is: look at the breasts, look at the arms, look at the breasts, no look at the arms. So there is a competition of attention going on. After a while I find myself wanting to unravel the illusion, again and again.


3.  desk turning

The perfect table flip; a source from one year ago:

this one takes the repeat into a different direction: somehow ‘release’ is my emotional response and it gets perpetuated. I think it may be because the closing sequence is him sitting down and the desk top is rearranged: neat, orderly… so, the flipping the mess of the desk over does result in an ordered (not just empty) desk, the key items: lamp, laptop, phone, mug remaining on the table during the flip; so, it’s digital throughout; I suspect the room is also painted in and I like how the shadows work in the corridor.


4. Moving around the house. Again and again (FB feed 28/1/2016)

no further info yet: but again: endlessly intrigued by the repetition; this works with a similar complexity to Tango: it takes some while figuring out where the loop is.