Simon Whiteley(I)
- Production Designer
- Art Director
- Visual Effects
The Matrix code 25th anniversary and its connection to Eirys Coeden and Mimlacode. It began with Japanese cookbooks and sushi but something else lies hidden deep within the heart of the code and it is time to unlock the door. Shooting stars of Katakana with trails of P1 phosphor green cross the screen. To match traditional Japanese calligraphy they become falling stars. When slowed they resemble tears of rain creating a melancholy forest of green - the Eirys Coeden where Mriga and her friends dwell. Long before stone circles there were glades in ancient forests called ley's, the sun delivered the day, the stars the night and the surrounding ring of trees the changing seasons. Frequented by creatures then humans these ley's were connected to others by ley or song lines. The little bird of orange with bow follows the white rabbit's foxfire moon and stars to Achernar's blue - well spring to the river in the sky. The stars and planets bring rain, life and colour to the Eirys Coeden - guardians of the creature's mimlacode of ethics and mirror to the human's digital matrixcode. Humans and creatures must work together if we are to save this rainbow coloured planet we call home.
Born 26th July 1962 Lytham St Annes, Lancashire, UK. A childhood spent barefoot and free between Hastings, Kent, UK and Khartoum, Sudan, Africa. Where I first encountered the Eirys Coeden and Mimla.
A Production Designer, Art Director, Visual Effects Supervisor, Writer and Screen Writer. I completed my BA (Hons) in Design and Visual Communication in Birmingham, UK where I studied art, story and longevity in civilisations and began writing about the Eirys Coeden. My career began at the BBC, Pebble Mill, Birmingham before moving to BBC, Shepherds Bush, London with the introduction of Quantel's Paintbox in 1985. In 1986 I joined BPCC Video Graphics pioneering Quantel's XL Graphic Paintbox (the forerunner to Photoshop) freelanced for the newly emerging Framestore before heading to Sydney, Australia in 1987 to work for The Video Paint Brush Company. Precursor to Animal Logic which I joined in 1991 working on commercials then movies for over thirty years. Most of which have had some environmental grounding - The Babe movies, Happy Feet, the Guardians of Ga'Hoole Owl movie, the Peter Rabbit movies, even The Lego movies and The Matrix movies are trying to get humans to open their eyes and work together with the world around them. All First Nation stories weave us into our environment, we should be part of it. There is more to this world if we just slow down, wait and listen.
I now spend my days in Golden Valley at the mimlafoundation with the fox, the hedgehog, the little bird and all their friends visiting my dreams. Delivering you the mimlacode raw and free as is their directive and without the assistance of AI. Offering up an alternative - a little ray of hope to this wonderful world we call home. The gate keeper, oracle and keymaker are active and have the rainbow scabbard - the Eirys Coeden in all of us. From its light into darkness we are born.
Born 26th July 1962 Lytham St Annes, Lancashire, UK. A childhood spent barefoot and free between Hastings, Kent, UK and Khartoum, Sudan, Africa. Where I first encountered the Eirys Coeden and Mimla.
A Production Designer, Art Director, Visual Effects Supervisor, Writer and Screen Writer. I completed my BA (Hons) in Design and Visual Communication in Birmingham, UK where I studied art, story and longevity in civilisations and began writing about the Eirys Coeden. My career began at the BBC, Pebble Mill, Birmingham before moving to BBC, Shepherds Bush, London with the introduction of Quantel's Paintbox in 1985. In 1986 I joined BPCC Video Graphics pioneering Quantel's XL Graphic Paintbox (the forerunner to Photoshop) freelanced for the newly emerging Framestore before heading to Sydney, Australia in 1987 to work for The Video Paint Brush Company. Precursor to Animal Logic which I joined in 1991 working on commercials then movies for over thirty years. Most of which have had some environmental grounding - The Babe movies, Happy Feet, the Guardians of Ga'Hoole Owl movie, the Peter Rabbit movies, even The Lego movies and The Matrix movies are trying to get humans to open their eyes and work together with the world around them. All First Nation stories weave us into our environment, we should be part of it. There is more to this world if we just slow down, wait and listen.
I now spend my days in Golden Valley at the mimlafoundation with the fox, the hedgehog, the little bird and all their friends visiting my dreams. Delivering you the mimlacode raw and free as is their directive and without the assistance of AI. Offering up an alternative - a little ray of hope to this wonderful world we call home. The gate keeper, oracle and keymaker are active and have the rainbow scabbard - the Eirys Coeden in all of us. From its light into darkness we are born.