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200);this.onload=null;this.rel=\u0026#039;stylesheet\u0026#039;\u0022 \/\u003E\n\u003C\/head\u003E\u003Cbody\u003E\u003Cdiv class=\u0022panels-ajax-tab-panel panels-ajax-tab-panel-profile\u0022\u003E\u003Cdiv class=\u0022one-column at-panel panel-display clearfix\u0022 \u003E\n  \u003Cdiv class=\u0022region region-one-main\u0022\u003E\n    \u003Cdiv class=\u0022region-inner clearfix\u0022\u003E\n      \u003Cdiv class=\u0022panel-pane pane-node-content no-title block\u0022\u003E\n  \u003Cdiv class=\u0022block-inner clearfix\u0022\u003E\n    \n            \n    \n    \u003Cdiv class=\u0022block-content\u0022\u003E\n      \u003Carticle id=\u0022article-11185\u0022 class=\u0022node node-artist article odd node-lang-en node-full 1 ia-r clearfix\u0022 role=\u0022article\u0022\u003E\n  \u003Cdiv class=\u0022article-inner\u0022\u003E\n\n    \n    \u003C!----\u003E\n\n    \n    \n    \u003Cdiv class=\u0022node-content\u0022\u003E\n    \u003Cdiv class=\u0022field field-name-field-featured-image field-type-image field-label-hidden view-mode-full view-mode-full\u0022\u003E\n    \u003Cdiv class=\u0022field-items\u0022\u003E\n          \u003Cfigure class=\u0022field-item\u0022\u003E\n        \u003Ca href=\u0022https:\/\/expcinema.org\/site\/sites\/default\/files\/marthacolburn.jpg\u0022 title=\u0022\u0022 class=\u0022colorbox\u0022 data-colorbox-gallery=\u0022gallery-node-11185-Da9rAvWKLd4\u0022 data-cbox-img-attrs=\u0022{\u0026quot;title\u0026quot;: \u0026quot;\u0026quot;, \u0026quot;alt\u0026quot;: \u0026quot;\u0026quot;}\u0022\u003E\u003Cimg class=\u0022image-style-wiki-profile\u0022 src=\u0022https:\/\/expcinema.org\/site\/sites\/default\/files\/styles\/wiki_profile\/public\/marthacolburn.jpg?itok=EI2BTtgg\u0022 width=\u0022360\u0022 height=\u0022360\u0022 alt=\u0022\u0022 title=\u0022\u0022 \/\u003E\u003C\/a\u003E                   \n               \n              \u003Cfigcaption class=\u0022caption full-caption\u0022\u003E\u003C\/figcaption\u003E\n                                                        \u003C\/figure\u003E\n      \u003C\/div\u003E\n\u003C\/div\u003E\n\u003Cdiv class=\u0022field field-name-body field-type-text-with-summary field-label-hidden view-mode-full view-mode-full\u0022\u003E\u003Cdiv class=\u0022field-items\u0022\u003E\u003Cdiv class=\u0022field-item even\u0022\u003E\u003Cp\u003E\u003Cstrong\u003EMartha Colburn\u003C\/strong\u003E is a filmmaker well-known for her animation films, which are created through puppetry, collage, and paint on glass techniques. She has made over forty films since 1994.\u00a0\u003Ca class=\u0022see-footnote\u0022 id=\u0022footnoteref1_babj5gc\u0022 title=\u0022Blank Screen. \u201cCartoon Surrealism: Martha Colburn.\u201d Blank Screen Media Online Magazine. 2007.\u0022 href=\u0022#footnote1_babj5gc\u0022\u003E1\u003C\/a\u003E\u00a0Colburn has also been fervently involved in playing music. One out of numerous groups she has been a part of is The Dramatics, a band she formed in Baltimore with Jason Willett. \u003Ca class=\u0022see-footnote\u0022 id=\u0022footnoteref2_ak86wr2\u0022 title=\u0022Stevenson, Jack. \u201cSuper-8 Conquers All: The Films and Attitude of Martha Colburn.\u201d The Living Color Movie Magazine. 1999.\u0022 href=\u0022#footnote2_ak86wr2\u0022\u003E2\u003C\/a\u003E\u00a0Recently in her career, Colburn has made sculptural\/video installation work and experimented with integrating her films with musical performance. Yet music and film have always shared a deep connection within Colburn\u2019s work.\u00a0\u003Cspan\u003E\u003Ca class=\u0022see-footnote\u0022 id=\u0022footnoteref3_tj590zm\u0022 title=\u0022Apfelbaum, Sue. \u201cMaster of Puppets: Martha Colburn\u2019s Handmade Revolution.\u201d RES. Vol. 9, No. 2 March\/April 2006.\u0022 href=\u0022#footnote3_tj590zm\u0022\u003E3\u003C\/a\u003E\u003C\/span\u003E\u003C\/p\u003E\n\u003Cp\u003E\u003Cstrong\u003EBiography\u003C\/strong\u003E Colburn was born in 1972 and spent her childhood near the Appalachian Mountains between Gettysburg and Harrisburg, Pennsylvania. She began making art at a very young age, but did not start working with film until 1994. In an interview with Blank Screen Media, Colburn discusses her past and present influences for making art: \u201cIn high school it was politics and history and then in my twenties I made tons of music films (many sexually oriented) and now I am back to the politics and history.\u201d\u00a0\u003Cspan\u003E\u003Ca class=\u0022see-footnote\u0022 id=\u0022footnoteref4_fgjs9tc\u0022 title=\u0022Blank Screen.\u00a0\u201cCartoon Surrealism: Martha Colburn.\u201d\u00a0Blank Screen Media Online Magazine. 2007.\u0022 href=\u0022#footnote4_fgjs9tc\u0022\u003E4\u003C\/a\u003E\u003C\/span\u003E\u003C\/p\u003E\n\u003Cp\u003EIn 1990, Colburn left the Appalachians to attend the Maryland Institute College of Art in Baltimore. Her primary focus in school was visual arts, yet she also began to become involved in the Baltimore experimental music scene. Colburn\u2019s reflections upon four years of art school are not so pleasant. \u201cArt school sort of devastated my vision, whatever I had,\u201d she is quoted saying in an article published by Res Magazine about her life and work. Although disillusioned by the time she graduates in 1994, Colburn nevertheless decides to stay in Baltimore and further immerse herself in the city\u2019s artistic community.\u00a0\u003Ca class=\u0022see-footnote\u0022 id=\u0022footnoteref5_j6khfp4\u0022 title=\u0022Apfelbaum, Sue. \u201cMaster of Puppets: Martha Colburn\u2019s Handmade Revolution.\u201d RES. Vol. 9, No. 2 March\/April 2006.\u0022 href=\u0022#footnote5_j6khfp4\u0022\u003E5\u003C\/a\u003E\u003C\/p\u003E\n\u003Cp\u003EIt is around the time of finishing college that Colburn first begins working with film. Her motivation to work with film arises partially due to finding 16mm reels of old educational movies.\u00a0\u003Cspan\u003E\u003Ca class=\u0022see-footnote\u0022 id=\u0022footnoteref6_mbbd31r\u0022 title=\u0022Stevenson, Jack.\u00a0\u201cSuper-8 Conquers All: The Films and Attitude of Martha Colburn.\u201d\u00a0The Living Color Movie Magazine. 1999.\u0022 href=\u0022#footnote6_mbbd31r\u0022\u003E6\u003C\/a\u003E\u00a0\u003C\/span\u003E\u003Cem\u003EAcrophobic Babies\u003C\/em\u003E\u003Cspan\u003E and \u003C\/span\u003E\u003Cem\u003EFeature Presentation\u003C\/em\u003E\u003Cspan\u003E are two early examples of Colburn working within this process. By scratching, tinting, and splicing the film itself, Colburn makes her first filmic pieces through her manipulation of appropriated imagery.\u00a0\u003Ca class=\u0022see-footnote\u0022 id=\u0022footnoteref7_2h3c6d3\u0022 title=\u0022Gruijthuijsen, Krist. \u201cReloaded: Martha Colburn Interview.\u201d Metropolis M Magazine. No. 3 June\/July 2007.\u0022 href=\u0022#footnote7_2h3c6d3\u0022\u003E7\u003C\/a\u003E\u003C\/span\u003E\u003C\/p\u003E\n\u003Cp\u003EDue to her discovery of Super-8 in 1995, Colburn quickly transitions from 16mm to 8mm. Her initial explorations in puppetry and animation are simultaneous with her shift in film formats.\u00a0\u003Cspan\u003E\u003Ca class=\u0022see-footnote\u0022 id=\u0022footnoteref8_49f8zr9\u0022 title=\u0022Stevenson, Jack.\u00a0\u201cSuper-8 Conquers All: The Films and Attitude of Martha Colburn.\u201d\u00a0The Living Color Movie Magazine. 1999.\u0022 href=\u0022#footnote8_49f8zr9\u0022\u003E8\u003C\/a\u003E\u00a0\u003C\/span\u003E\u003Cem\u003ECaffeine Jam\u003C\/em\u003E\u003Cspan\u003E is one of her first animations, while \u003C\/span\u003E\u003Cem\u003EKiller Tunes\u003C\/em\u003E\u003Cspan\u003E is animation using marionettes. From hereon, Colburn continues to develop and enrich her animations to an even greater complexity of form, materials, and concepts. During an interview with Metropolis M Magazine, Colburn asserts her love for animation: \u201canimation is magical, it\u2019s making gold out of glitter.\u201d\u003C\/span\u003E\u003C\/p\u003E\n\u003Cp\u003EAfter ten years of living in Baltimore, Colburn moves to Amsterdam in 2000 after being offered a two-year residency at the Royal Academy of Visual Arts. During her residency, Colburn makes numerous films including \u003Cem\u003ESkelehellavision\u003C\/em\u003E, an animated and hand-colored film mixing images of female pornography stars and skulls, and \u003Cem\u003EBig Bug Attack\u003C\/em\u003E, a film whose soundtrack is a collaborative piece between Colburn and German techno artist Felix Kubin. Once finishing up her residency, Colburn spends another three years in Holland making films until returning to the United States in 2005.\u003C\/p\u003E\n\u003Cp\u003EOnce settling in Long Island City, New York, Colburn begins work on animations that deal more closely with American history and its relationship to the country\u2019s current foreign and domestic policies. \u003Cem\u003EDestiny Manifesto\u003C\/em\u003E incorporates images of the American frontier with depictions of the conflict in the Middle East. \u003Cem\u003EMeet Me in Wichita\u003C\/em\u003E is a parody of \u003Cem\u003EThe Wizard of Oz\u003C\/em\u003E in which Osama Bin Laden substitutes for all of Oz\u2019s characters aside from Dorothy, the story\u2019s heroine. \u201cI am making films that work with ideas of the loss of faith, obsession with spectacle, self destructiveness, compulsion for violence,\u201d Colburn says in Metropolis M Magazine about her work of most recent years. \u201cInhibition and fear characterize my work, as uninhibited and fearless they may appear.\u201d As far as the effects of returning to her native country after spending time in Europe, Colburn believes her work has gotten increasingly concerned with political issues facing the world today.\u003C\/p\u003E\n\u003Cp\u003EColburn has also been making animations for music videos in the past couple years. She created pieces to accompany the San Francisco-based band Deerhoof\u2019s song \u201cWrong Time Capsule\u201d in 2005 and Serj Tankien\u2019s \u201cLie, Lie, Lie\u201d in 2007. Yet these projects come as no surprise given the strong relationship Colburn has always had with music. She even created animation for the 2005 documentary about the musician Daniel Johnston entitled \u003Cem\u003EThe Devil and Daniel Johnston\u003C\/em\u003E. Colburn\u2019s latest film, Myth Labs, has not just been screened, but also presented as panels of which the film is composed.\u003C\/p\u003E\n\u003Cp\u003E\u003Cstrong\u003ECollage work\u003C\/strong\u003E Colburn\u2019s style of collage fuses pop culture and political imagery with an aesthetic that is simultaneously fantastical, painterly, and punk rock. Many of her appropriated images are painted over with a diverse variety of paints which integrate them with the drawings and textures that are completely her own. Colburn makes her animations by facing the camera directly downward at the collaged panels below. She has always rejected the computer program as a means to create her animations. The \u201chands-on,\u201d non-technological quality that defines her process keeps it at a personal and intimate level. Color is another very important aspect of Colburn\u2019s films. Although her 2006 film Meet Me in Wichita deals with disconcerting subject matter, Colburn still chooses bright colors to define the film\u2019s color scheme. It is these types of contradictions in Colburn\u2019s work which deepen her visual and conceptual complexity.\u003C\/p\u003E\n\u003Cp\u003E\u003Cstrong\u003EArtist\u0027s statement\u003C\/strong\u003E \u003Cem\u003EIn my work I utilize the language and materials of filmmaking to comment on popular culture, consumerism, politics and sexuality. My work addresses contemporary topics to express my personal anxieties and passions. Through a collage of live action (paint-on-glass) animations, found footage and documentary filmmaking techniques, my films are a disturbing and at times humorous take on popular and political culture.\u003C\/em\u003E\u003C\/p\u003E\n\u003Cp\u003EComplimenting my films, I create elaborately layered collages, paintings, and installations that incorporate transparencies, recordings, and live performances. As my conceptual process grows, so follows advances in my already detailed and labor-intensive animating process. Technically, I am expanding my technique into working with multi-plane glass animation which represents a physical manifestation of my conceptually layered ideas.\u003C\/p\u003E\n\u003Cp\u003ECurrently I am working on films that combine art historical representations and current depictions of politics to challenge our notions of truth and fantasy. As a descendent of some of America\u2019s earliest settlers (ministers, farmers and wagon train members), I have an awareness of the repository of the guilt-haunted twisted history of the American soul. My current work draws from this perspective and personal experience to address issues such as Methamphetamine use, environmental catastrophes, and man\u2019s relationship to nature.\u003C\/p\u003E\n\u003Cul class=\u0022footnotes\u0022\u003E\n\u003Cli class=\u0022footnote\u0022 id=\u0022footnote1_babj5gc\u0022\u003E\u003Ca class=\u0022footnote-label\u0022 href=\u0022#footnoteref1_babj5gc\u0022\u003E1.\u003C\/a\u003E Blank Screen. \u003Ca href=\u0022http:\/\/www.blankscreenmedia.com\/node\/102\/\u0022\u003E\u201cCartoon Surrealism: Martha Colburn.\u201d\u003C\/a\u003E Blank Screen Media Online Magazine. 2007.\u003C\/li\u003E\n\u003Cli class=\u0022footnote\u0022 id=\u0022footnote2_ak86wr2\u0022\u003E\u003Ca class=\u0022footnote-label\u0022 href=\u0022#footnoteref2_ak86wr2\u0022\u003E2.\u003C\/a\u003E Stevenson, Jack. \u003Ca href=\u0022http:\/\/hjem.get2net.dk\/jack_stevenson\/macol.htm\u0022\u003E\u201cSuper-8 Conquers All: The Films and Attitude of Martha Colburn.\u201d\u003C\/a\u003E The Living Color Movie Magazine. 1999.\u003C\/li\u003E\n\u003Cli class=\u0022footnote\u0022 id=\u0022footnote3_tj590zm\u0022\u003E\u003Ca class=\u0022footnote-label\u0022 href=\u0022#footnoteref3_tj590zm\u0022\u003E3.\u003C\/a\u003E Apfelbaum, Sue. \u201cMaster of Puppets: Martha Colburn\u2019s Handmade Revolution.\u201d RES. Vol. 9, No. 2 March\/April 2006.\u003C\/li\u003E\n\u003Cli class=\u0022footnote\u0022 id=\u0022footnote4_fgjs9tc\u0022\u003E\u003Ca class=\u0022footnote-label\u0022 href=\u0022#footnoteref4_fgjs9tc\u0022\u003E4.\u003C\/a\u003E Blank Screen.\u00a0\u003C\/span\u003E\u003Ca href=\u0022http:\/\/www.blankscreenmedia.com\/node\/102\/\u0022\u003E\u201cCartoon Surrealism: Martha Colburn.\u201d\u003C\/a\u003E\u003Cspan\u003E\u00a0Blank Screen Media Online Magazine. 2007.\u003C\/li\u003E\n\u003Cli class=\u0022footnote\u0022 id=\u0022footnote5_j6khfp4\u0022\u003E\u003Ca class=\u0022footnote-label\u0022 href=\u0022#footnoteref5_j6khfp4\u0022\u003E5.\u003C\/a\u003E Apfelbaum, Sue. \u201cMaster of Puppets: Martha Colburn\u2019s Handmade Revolution.\u201d RES. Vol. 9, No. 2 March\/April 2006.\u003C\/li\u003E\n\u003Cli class=\u0022footnote\u0022 id=\u0022footnote6_mbbd31r\u0022\u003E\u003Ca class=\u0022footnote-label\u0022 href=\u0022#footnoteref6_mbbd31r\u0022\u003E6.\u003C\/a\u003E Stevenson, Jack.\u00a0\u003C\/span\u003E\u003Ca href=\u0022http:\/\/hjem.get2net.dk\/jack_stevenson\/macol.htm\u0022\u003E\u201cSuper-8 Conquers All: The Films and Attitude of Martha Colburn.\u201d\u003C\/a\u003E\u003Cspan\u003E\u00a0The Living Color Movie Magazine. 1999.\u003C\/li\u003E\n\u003Cli class=\u0022footnote\u0022 id=\u0022footnote7_2h3c6d3\u0022\u003E\u003Ca class=\u0022footnote-label\u0022 href=\u0022#footnoteref7_2h3c6d3\u0022\u003E7.\u003C\/a\u003E Gruijthuijsen, Krist. \u201cReloaded: Martha Colburn Interview.\u201d Metropolis M Magazine. No. 3 June\/July 2007.\u003C\/li\u003E\n\u003Cli class=\u0022footnote\u0022 id=\u0022footnote8_49f8zr9\u0022\u003E\u003Ca class=\u0022footnote-label\u0022 href=\u0022#footnoteref8_49f8zr9\u0022\u003E8.\u003C\/a\u003E Stevenson, Jack.\u00a0\u003C\/span\u003E\u003Ca href=\u0022http:\/\/hjem.get2net.dk\/jack_stevenson\/macol.htm\u0022\u003E\u201cSuper-8 Conquers All: The Films and Attitude of Martha Colburn.\u201d\u003C\/a\u003E\u003Cspan\u003E\u00a0The Living Color Movie Magazine. 1999.\u003C\/li\u003E\n\u003C\/ul\u003E\n\u003C\/div\u003E\u003C\/div\u003E\u003C\/div\u003E\u003Csection class=\u0022field field-name-field-nationality field-type-country field-label-inline clearfix view-mode-full view-mode-full\u0022\u003E\u003Ch2 class=\u0022field-label\u0022\u003ENationality:\u0026nbsp;\u003C\/h2\u003E\u003Cdiv class=\u0022field-items\u0022\u003E\u003Cdiv class=\u0022field-item even\u0022\u003EUnited States\u003C\/div\u003E\u003C\/div\u003E\u003C\/section\u003E    \u003C\/div\u003E\n\n          \u003Cnav class=\u0022clearfix\u0022\u003E\u003C\/nav\u003E\n    \n    \n  \u003C\/div\u003E\n\u003C\/article\u003E\n    \u003C\/div\u003E\n\n    \n    \n  \u003C\/div\u003E\n\u003C\/div\u003E\n    \u003C\/div\u003E\n  \u003C\/div\u003E\n\u003C\/div\u003E\n\u003C\/div\u003E\u003Cscript src=\u0022https:\/\/expcinema.org\/site\/sites\/default\/files\/advagg_js\/js__UWPcb-dFIKNMRaI8Dtldc9EKRFR1asHAO8yXpi-RA0Q__FKksr7BiLv_-PIwOA62XSsYR9-TCy3H9SwBNTijA80A__BYJ_raMsbqFpF1SIDoJghyU-ouurldty3Wm9_bVOXTQ.js\u0022\u003E\u003C\/script\u003E\n\u003C\/body\u003E\u003C\/html\u003E"}