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Digital art
RAILS, RAILS, WIRES…
NATALYA MORSHCHAKOVA | RUSSIA
NATALYA MORSHCHAKOVA | RUSSIA
Animated film
2025
2025
In this frame, everything is mixed: childhood dreams, real history, and a larger dream.
This film emerges from a close, almost research-based observation of tram culture and its presence within urban memory. In the process of creating it, I turned to archival materials from the Museum of Urban Electric Transport in Saint Petersburg, studied technical drawings, artistic publications, and memoirs, gradually coming to an understanding of the tram line as a unique cultural code of the city — a kind of "nervous system" reflecting the rhythm of human life and collective experience.
At the center of the narrative is the story of a boy named Kolya, whose childhood perception of the world is formed through play and imagination, transforming an ordinary toy tram into a space of personal discovery and inner movement. For him, this image becomes not only a toy but also an intuitive anticipation of a future path connected with the city, its history, and the living fabric of everyday life.
The visual solution of the film combines collage techniques referencing the aesthetics of the 1960s with more abstract graphic layers, where reality, memory, and imagination coexist within the same space. In this frame, everything is mixed: childhood dreams, real history, and a larger dream. Through this blending of forms, the film reflects on how personal experience and cultural environment mutually shape one another, creating a shared system of images in which the individual becomes part of a broader, universal human experience.
At the center of the narrative is the story of a boy named Kolya, whose childhood perception of the world is formed through play and imagination, transforming an ordinary toy tram into a space of personal discovery and inner movement. For him, this image becomes not only a toy but also an intuitive anticipation of a future path connected with the city, its history, and the living fabric of everyday life.
The visual solution of the film combines collage techniques referencing the aesthetics of the 1960s with more abstract graphic layers, where reality, memory, and imagination coexist within the same space. In this frame, everything is mixed: childhood dreams, real history, and a larger dream. Through this blending of forms, the film reflects on how personal experience and cultural environment mutually shape one another, creating a shared system of images in which the individual becomes part of a broader, universal human experience.
This film emerges from a close, almost research-based observation of tram culture and its presence within urban memory.
In the process of creating it, I turned to archival materials from the Museum of Urban Electric Transport in Saint Petersburg, studied technical drawings, artistic publications, and memoirs, gradually coming to an understanding of the tram line as a unique cultural code of the city — a kind of "nervous system" reflecting the rhythm of human life and collective experience.
At the center of the narrative is the story of a boy named Kolya, whose childhood perception of the world is formed through play and imagination, transforming an ordinary toy tram into a space of personal discovery and inner movement. For him, this image becomes not only a toy but also an intuitive anticipation of a future path connected with the city, its history, and the living fabric of everyday life.
The visual solution of the film combines collage techniques referencing the aesthetics of the 1960s with more abstract graphic layers, where reality, memory, and imagination coexist within the same space. In this frame, everything is mixed: childhood dreams, real history, and a larger dream. Through this blending of forms, the film reflects on how personal experience and cultural environment mutually shape one another, creating a shared system of images in which the individual becomes part of a broader, universal human experience.
At the center of the narrative is the story of a boy named Kolya, whose childhood perception of the world is formed through play and imagination, transforming an ordinary toy tram into a space of personal discovery and inner movement. For him, this image becomes not only a toy but also an intuitive anticipation of a future path connected with the city, its history, and the living fabric of everyday life.
The visual solution of the film combines collage techniques referencing the aesthetics of the 1960s with more abstract graphic layers, where reality, memory, and imagination coexist within the same space. In this frame, everything is mixed: childhood dreams, real history, and a larger dream. Through this blending of forms, the film reflects on how personal experience and cultural environment mutually shape one another, creating a shared system of images in which the individual becomes part of a broader, universal human experience.