by Carla Caruso
Some years ago, APA received funding to produce animated videos about your Open, Green, Public Adelaide Park Lands. The funding was made available by the Federal Government because your Park Lands are on the National Heritage List.
The first video, produced in 2015, rhetorically asked whether Egypt would sell off the one thing that made it unique: its pyramids.
The second video, produced two years later, focused on the myth of “vibrancy” and “activating” your Park Lands – often used as an excuse to have major buildings take over Open, Green, Public spaces.
Lamentably, both animated videos are as relevant in 2022 as they ever were.
We thought it worth checking in with the artist behind the videos, Greg Holfeld (below), to see what he thought about their continued significance – and what he’s been up to lately.
Hi, Greg. Please tell us about how you became involved in creating the videos for the Adelaide Park Lands Association. And what did the process involve?
“My good friend and occasional collaborator, director/writer Shane McNeil, was involved with the Association and approached me with the idea of creating a ‘whiteboard explainer’ style video to promote their work.
“The process involved me drawing and writing everything in real-time on the largest whiteboard we could find while under the warm glare of movie lights.
“Shane and I spent many hours planning beforehand to make the most out of the day of the shoot.
“Each video was done as a storyboard, in its entirety, to aid in this planning and submit to APA for approval.
“The videos were shot and edited by Liam Somerville, who did a stellar job of creating the pace of the videos by removing selected frames – especially the ones where my head got in the way.
Watch out for magpies swooping. Illustration: Greg Holfeld.
“It’s actually pretty tricky – and tiring! – to draw with your arm straight out and your head as far away from your hand as possible.
“We also learned that the whiteboard markers should be replaced very frequently, and you can draw some guidelines in white chinagraph [pencil] that the camera doesn’t see.”
How does it feel to know that the videos still resonate today?
“Always good to know that people are still watching, and presumably enjoying my work years after it’s made.
“Though, in this case, that feeling is tempered by knowing the message is no less urgent. Sadly, quite the opposite.”
Kids play at the Adelaide Zoo’s nature playground, as sketched by Greg.
What inspired you to move from Canada to Australia? Is Oz your ‘forever home’?
“How I ended up in Australia can be a long story. The short version is ‘a girl’. We’re still together, so clearly the trip was worth it.
“I still have my Canadian citizenship along with my Australian, but after 31 years here, it’s probably a safe bet I’m sticking around, despite an intense dislike of Vegemite and disinterest in cricket.”
You have a diverse CV. Was it glamorous working on TV series like Ren & Stimpy and Figaro Pho?
“Animation, glamorous?!? Who told you that? It’s a demanding medium of long hours, crushing deadlines, hand cramps, and caffeine addiction.
“What makes it worthwhile is the great people you get to work with and the addictive rush of creativity. That was certainly the case with the Adelaide-made Figaro Pho; a terrific team of people sharing a vision for a unique project.”
You have created art for TV, film, kids’ books, and even manga comics. Do you have a preferred medium?
“No preference, as long as there’s an interesting story to tell and good people to help tell it.”
Were you always the kid doodling in class?
“Yes, and outside of class.”
Greg says: “My studio is a very short walk to Rymill Park and Victoria Park, so it can be nice to get out and go sketch a couple of trees if needed.”
What’s been keeping you busy lately? And how’s your year ahead looking?
“2021 was pretty busy; was [the] storyboard artist for ABC/Windmill [kids’ series] Beep & Mort and the new Woody Woodpecker feature, worked on episodes of [animated series] Little J & Big Cuz [and] The Strange Chores, and had a heap of book and magazine illustrations leave my desk.
“So, trying to catch my breath as we grit our teeth for 2022 and letting the veggie patch keep me busy while working on a few smaller projects with good friends; games, books, and a very secret bit of animation with a well-known Adelaidean.”
