Film Journal & Farm Life

Ramin Zahed wrote a great article about my film “Fiego and the Magic Fish”. Press is hard for independent films, so I’m very grateful for

When promoting Fiego, I kept hesitating to pull any past work into the equation. Why use Rocko as an attention getter, when the person who

Fluid movement has a lot to do with the shapes you are working with and how flexible they are. Here you see that Odin’s head

As I was researching this scene for Odin, I found that, of course, shadows all have a direct correlation to the light source ,but what

Today is the first day of offering Fiego and the Magic Fish up for streaming. It’s available for rent or sale at https://gardenboxfilms.vhx.tv The first

Had the opportunity to teach an animation master class at the Luca School of Arts in Brussels Belgium yesterday. It was especially rewarding to me

This scene is only about 10 seconds long, and yet I found so many things I needed to study to pull this off. How does

So, it’s been a year since Fiego hit the festival trail. Nine awards and 21 festivals later, we are wrapping it up and putting it

March 16, 2025 The cold sting is slowly leaving the morning air. The shadows are less long, and the days are reaching for more light.

There are many vehicles for storytelling. It was definitely a love of mine from the start, as was drawing. I tried to do storytelling with

I believe since I was awarded best animated short this year ( and from my experience) I was asked to judge the 2026 Barcelona Indie

I’m finding the work on, first, Fiego and now Odin, as a series of artistic hurdles. Where I had spent thirty years mostly working in

Yesterday, Fiego won the Best Animated Short Film Award in Barcelona at the Indie fest, and this last week selected for the 3D-2D Animation Festival

An example of how lighting is so crucial to a scene.

Working on this scene right now with Odin entering the cave of whispers. I’m really feeling one with it since 2025 is shaping up as

I’ve had questions about the studio here in Belgium. After buying a 240-year-old farm, we converted one of the stables into a studio space for

I love this festival, and I’m very happy to become a part of it!

I’ve always noticed that I gravitate to rough art, impressionistic, texture, without lines. Often without detail. Only using light and contrast to define the landscape,