I have been thinking more about space.
Pictorial space, that is space depicted on a flat surface like a piece of paper or a canvas.
Basically it is a trick, an illusion achieved by mimicking phenomena.
phe·nom·e·non (fĭ-nŏm'ə-nŏn', -nən) n. pl. phe·nom·e·na (-nə)
An occurrence, circumstance, or fact that is perceptible by the senses.
An occurrence, circumstance, or fact that is perceptible by the senses.
Essentially all the methods of creating space in a picture boil down to recreating a scene from the view point of a human, and carefully crafting it to mimic their sense of sight. That is it.
Some ways to depict space seem amazing, because they mimic space in a way that would be amazing if it were real. So there is a subtle disconnect between space, the representation of space, the perception of space, and the perception of the representation of space. If you confuse any of these four things you will not think clearly enough to understand what you are up to when making pictorial space.
Something like a phenomenon, baby, something like a phenomenon...
There are a ton of amazing illusions on this site, click here.
2 comments:
Great stuff Bill... ever think of doing an entry on colour blind artists? Or similar? Or have you done one?
Or even lets say an artist who's vision altered over time - I remember seeing a documentary on.... damn can't think of who it was now - but what struck me was that the colours that he used changed as cataracts formed over his eyes... after seeing that, I tested my eyes and I actually have more blue in one eye than the other! So, if I look through the left eye, the colours are warmer than if I look through the right!
Do you also like Dali and his work where he plays with perception - creating more than one image/scene in a singular painting! Great artist!!!
Thanks Manz!
Yes, I like Dali paintings. I have been hot and cold with his work for years, but what cemented my opinion towards the positive was seeing his work in person at MOMA in Manhattan several years back, especially seeing his early and mid career work. It had a almost hallucinatory intensity. Very rewarding to examine those in person.
I also remember Gregory Gillespie speaking about how his paintings had changed over the years because his eyesight had changed... I think R.B. Kitaj also mentioned the sight of the artist changing overtime and how it affects the making of work... Of course, the most famous example is Rembrandt, who went from making super intensly detailed images where you could practically feel the texture of skin and cloth to making images where the brushes were all placed a little farther apart than reality might allow, but when stepped back from reveal an erily convincing illusion.
Interesting stuff Manz, thanks for checking out the post! I like your blog too.
Best,
Bill
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