Film Stills:
Access to the film, video work and original animation drawings for study, research, or screening is only through the Canyon Cinema Foundation, Academy Film Archive (Los Angeles), the iotaCenter (Los Angeles), the collection of the Anthology Film Archives (New York), or the collection of the Carnegie Museum of Art (Pittsburgh). Go to the “Contact/Links” page for details.
FILMOGRAPHY:
1975: GAMESHOW. Black & White, 16mm, Sound, 3 Minutes. Experimental narrative film; collaboration with artist Dennis Adams.
1976: SCANNING. Color, 16mm, Sound, 3 Minutes. Experimental film with hand tinted/found broadcast video imagery.
1976: SEVENTY-SIX AT HOME. Color, 16mm, Sound, 7 Minutes. A compilation of images gathered during the year 1976: artifacts of assorted personal, pop culture, and national history.
1977: DREAM 733. Color, 16mm, Sound, 13 Minutes. Experimental photo-collage animated film structured on a series of tableaux : a mix of surrealism, science fiction, and fantasy, with Moog synthesizer sound by Glabicki.
1978: DIAGRAM FILM. Color, 16mm, Sound, 14 minutes. Live action and still images of various locales are transformed, deconstructed, examined, or interpreted by increasingly intricate animated diagrams of fact and fallacy. Part 1 of a Trilogy.
1979: FIVE IMPROVISATIONS. Color, 16mm, Sound, 3.5 Minutes. The diagrammatic space first entered in DIAGRAM FILM, becomes a single cryptic diagram about cinema, in five improvised arrangements of the 144 cells/drawings. Part 2 of a Trilogy of diagram films.
1983: FILM-WIPE-FILM. Black and White, printed on Color stock, 16mm, Sound, 27 Minutes. One hundred film wipes serve as a vehicle of transformation and synthesis for one hundred animated, diagrammatic sequences. A continuous stream of information and sound: a four-year diary/journal, imaginary travelogue, opera, with multiple languages, cryptic diagrams, abstract and figurative use of image and sound. The finale of the Diagram Trilogy.
1985: OBJECT CONVERSATION. Color, 16mm, Sound, 10 Minutes. An experimental animated film in which language, gender, associations, and meaning are explored through multi-layered juxtaposition of familiar objects, dialogue, and sound. Images and text are presented as improvisational language.
1987: ACADEMY LEADER VARIATIONS. Color, 35mm and 16mm, Sound, 6 Minutes. A collaboration among twenty animators from four countries, produced by David Ehrlich, in cooperation with ASIFA. Each animator presents a personal re- interpretation of the standard Academy “countdown” Leader. United States: Paul Glabicki, David Ehrlich, Jane Aaron, Skip Battaglia, George Griffin, and Al Jarnow. Switzerland: George Schwizgebel, Claude Luyet, David Suter, and Martial Wannaz. Poland: Jerzy Kucia, Piotr Dumala, Krzysztof Kiwerski, and Stanislaw Lenartowicz. China: A Da, Yan Ding Xian, Hu Jing Qing, Lin Wen Xiao, He Yu Men, and Chang Guang Xi.
1989: UNDER THE SEA. Color, 16mm, Sound, 23 Minutes. Experimental animated film structured on adaptations of five literary sources: Madame Bovary, Frankenstein, Twenty-Thousand Leagues Under the Sea, Gulliver’s Travels, and the Voyage of the Beagle. The source texts are presented as simultaneous, overlapping narrative fragments, with vocal performances in several languages.
COMPUTER ART/WORKS FOR VIDEO INSTALLATION:
1990-92 COMPUTER ANIMATION STUDIES. TAPE 1, 2, 3, 4; Color, S-VHS and VHS, Silent, 60 minutes each. Designed for single or multiple monitor display, each tape features a variety of cyclical computer animation compositions, for duration of 30 seconds to 3 minutes. Hardware: AMIGA 2000 Computer; Software: Electronic Arts DeluxePaint III, IV.
1998: DARK ROOM/SIMPLE ROOF. S-VHS and VHS, Silent, 60 minutes. Designed for single or multiple monitor display, the tape consists of multiple, layered cyclical sequences of abstract forms and architectural fragments. Power Mac 9600/130, Lightwave 3-D 4.0, Media 100QX Digital Video.
1999: RED FENCE. S-VHS and VHS, Sound, 62 minutes. Designed for continuous single or multiple monitor display (as well as video projection), the tape is a collection of progressively complex computer animated “acts” in a theatrical space. Props, architectural fragments, scanned image/surface maps, and constantly shifting backdrops create intricate interplay between abstract and figurative form, East and West cross-cultural experience and memory, on-site documentation, and spatial play. PowerMac 9600/130, Lightwave 3-D 4.0, Media 100QX Digital Video.
2001: FULL MOON. S-VHS, VHS, DVD, Sound, 45 minutes. Designed for continuous single or multiple monitor display (as well as video projection), the tape is a collection of computer animated sequences of celestial images spanning time and cultures, moving objects and images in harmonic choreography and spatial play. PowerMac 9600/130, Lightwave 3-D 4.0, Media 100QX Digital Video.
SPECIAL VIDEOS/COLLECTIONS:
AWARD-WINNING EXPERIMENTAL FILMS 1980-85. “Object Conversation” included on “ New Shorts on Video,” a six-part anthology; VHS; released by Picture Start Film and Video, Chicago, Illinois; DVD release 1986.
THE PAUL GLABICKI ANIMATION TAPE. A Collection of films, 1978-1985; VHS, released by Picture Start Short Form Releasing, Chicago; available at Facets Video, 1517 West Fullerton, Chicago, Illinois: DVD release 1992.
INTERNATIONAL ANIMATION COLLABORATIONS. A collection of films, including Glabicki’s collaboration project “Academy Leader Variations” (1987); produced by David Ehrlich and ASIFA; DVD release 2009.
TYPEMOTION: TYPE AS IMAGE IN MOTION. Study Edition: 14 disc DVD collection with Catalogue; Published by ZKM/Center for Art and Media Karlsruhe, 2015.
