In a Creative Boom interview published on 3 November, Moho describes working with dreams sent in by strangers. They become short animations in which beauty sits alongside unease.
What interests us is the starting material. A dream has no duty to explain every event or escort its protagonist neatly towards a conclusion. An image can hold together through feeling, even as a literary editor prepares questions about the logic. For visual storytelling, that’s a liberating condition: not every oddity needs repairing before work can begin.
Freedom doesn’t mean a random collection of attractive details, though. Mentally remove the scene’s most spectacular object. Does the mood survive, or does the entire idea leave with it? That question works for more earthly projects too. Sometimes an image needs another layer of meaning. Sometimes it needs someone to stop decorating it. Luckily, a dream doesn’t have to get both options approved by Friday.
