If we set aside the distances and propo¬rtions of near and far in animation and painting, undoubtedly, one of the key points of intersection between these two mediums is the frame. When we examine the frames of an animation using the criteria of a still image (such as a painting), we probably consider many of the frames to be valuable. In the medium of animation, some frames are ruthlessly discarded and the frame becomes merely a component serving the movement.
When frames are displayed like a painting in a gallery, it's as if time has frozen, allowing us to dedicate as much time as we wish to view each frame. 

Thus, the main question that arises is:  
Is it possible to look at each frame independently of the video? Or is each frame dependent on what comes before and after it?

The current exhibition is the result of a collaborative effort for the animation in the short film "Europe"¬ directed by Mojtaba Pourabdollah, where each member of the project worked on specific frames. The goal is to showcase the process of creating the animation, rather than the final result.