Tying into and playing against a rich history of hand-painted films, the first Trypp starts off with lulling rhythms of interstellar undulations. But instead of referencing the romantic traditions of most cameraless films, as the impasto grows denser this Trypp turns into a fugue state inducing flurry of op art kineticism. If Mesmer were an action painter, the result might look like this vivacissimo tarantella between light and darkness. The screen becomes a snowglobe of activity to scramble your eye's rods into cones.
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