Born in Montreal, Quebec, Woloshen first attended Vanier College, where he worked with Super-8 film and video. Woloshen specialized in 16mm independent film techniques at Concordia University in Montreal.[1] He initially made documentaries and collage films, but the freedom and accessibility of scratch animation won him over. He has since created animated and experimental films, which have been shown at screenings and festivals around the world.[2]
Working in camera-less animation since 1982, Woloshen has used scratches and lacerations on film to create emotional content.[3]
After taking a hiatus of more than a decade, Woloshen returned to filmmaking in 1996. The years Woloshen spent working on film sets and in labs helped his output: Woloshen’s work “post-hiatus” is more assured compared to his films from the 80s, showing progress in aesthetics, graphic technique and understanding of lab processes.
Woloshen was the subject of a retrospective screening at Saw Video Gallery, hosted by the Canadian Film Institute. He is also featured in an anthology on animation, The Sharpest Point: Animation at the End of Cinema, edited by Chris Gehman and Steve Reinke and co-published by YYZ Books, the Ottawa International Animation Festival and the Images Film and Video Festival.[5]
Woloshen is heavily inspired by music, particularly jazz, and has made numerous short abstract works in which the images are created in synchronization to a music track.[7] While most of his films are exuberantly colored, Me Me Ma Ma (2000) is done in spare black and white. White scratches resembling rubbings, chalk drawings or electronic static jitter across a black background, matched to the driving beat of a techno music piece. Bru Ha Ha! (2002) takes a piece by Erik Satie and translates it into abstract imagery. The deep, masculine sound of a tuba appears in blocky shapes of colour, contrasted with delicate white squiggles corresponding to a woman singing. The tuba and voice play off each other as if in conversation, male and female. Dave Brubeck’s jazz classic “Take Five” is the inspiration for Cameras Take Five (2002), in which fluid lines represent the saxophone voice, moving over top of color fields of electric blue and green interspersed with playful shapes and doodles. These are vibrant, light-hearted works, which capture the spirit and energy of the music.
As in jazz, improvisation and chance are important aspects of Woloshen’s work. Because his films are self-funded and the tools of his craft (film leader, markers, inks, brushes and craft knives) are readily available, he can seize on an inspiration and act on it immediately. He writes: “I think spontaneous urges and desires are the best part of handmade film making.” Woloshen even constructed a portable scratch box so that he could do scratch animation during breaks on his job as a driver in the feature film industry.
Some of his films depart somewhat from this method, such as The Babble on Palms (2001) and Two Eastern Hair Lines (2004). The Babble on Palms features various found-footage scenes of everyday life, accompanied by music by Ali Akbar Khan. The outline of a hand appears over all of the scenes, partially blocking one's view. The hand is treated with constantly changing decoration such as dots and spirals, and patterns and colors reminiscent of both the solar system and cells under a microscope – the universe is contained in the hand. The film suggests a thread connecting all people, but also the limitations of each person's viewpoint and the individuality (the “hand print”) that sets people apart.
Two Eastern Hair Lines also employs found footage, and is composed primarily of scenes of two or three people – a man and woman in a room together, two men seated across a desk from one another, a couple seated side-by-side. Parts of the images are framed, blocked out, or painted over, dividing and isolating the figures from each other. Set against a 1939 Chinese recording, “Parting at Yang Kwan,” Two Eastern Hair Lines is full of longing. It reflects on the unbridgeable distance between people and the difficulties of communication. As Woloshen writes in his description, “Sometimes the rifts between us are as wide as rivers, and sometimes as small as hair lines.”
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