About

DIGIKAMPRADESH  BIO

Who is Who? :*dIgIKaMPrADesH*

 An animator-illustrator raised among the deserted rubble parks and menacing urban woods of Madrid´s South border. A landscape where he slowly developed a growing taste for the noise and the twisted, the extreme and the flexible, the order in chaos and the need of silence.

 Do not expect a *dIgIKaMPrADesH’s master plan but a random getaway.

 The result of looking for something and find something else. That could explain a training that began in mid 90’s Italy, with its odd mixture of antique stones,  jungle raves and clandestine charity shops. Or his sheltering in UK  from the 2000´s digital blackout that never arrived and its unforeseen side effects: thoughtful study of  the animation basics and higher principles of kitchen guerrilla warfare, biohazard manipulation and real-live Tetris applications.

 The Right track and the Left track

 Fruitful collaborations began with a renegade think-tank of sonic marauders, hacking outlaws, 2Deadly-game developers and devotees of the sacred art of Shoplifting. All packed up in small basement labs, with high density levels of brainstorming flow.

 After a few warm-ups, his first professional works were delivered; like JACKPOT (by kampaFonk & BongoBeany), an educational animation about gambling addiction and its impact in young kitchen crews, funded by the National Lottery. *dIgIKaMPrADesH* team up as well with electro producers ArD2, contributing to the graphic design of their “2084” Frigio Records album (with 3D wizards from BrainSoupLab) and animating their video single “2085” , the R.I.P stone to analog TV. Nowadays, is preparing on 35mm celluloid a manual about how to avoid the Evil Eye in contemporary cinema, apart from volunteering as a guinea pig for the  “Eardrum Sonic Perforation Test” weekly meetings hold by ArD2.

 Modus operandi

 A small collector of disposable images and sounds: he fix them anyhow before falling to pieces, then he improvise a meaning from the outcome. Always experimenting with Low Fi and High D formats, with a cut & paste-seek & destroy method; searching for the error as a font of creation; testing free software waiting for the unexpected crackdown, in a pixel vs vector battle jam where the balance still have to be achieved…but is worth to be seen.


 
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