Sketches for Further Development.

While working on my theory I started producing some new sketches. At first, I thought them to be for the new devices layouts, but now I believe they represent three schemes I intend to develop into substantial work.

Sketches for Schemes #1 and #2

Development of Scheme #1

I am not sure yet if some of them are still to be 'objects' and whether I still want to work with wax. I think these decisions should come with experiment.

Ideas for Scheme #3

New references: Boris Groys and Jan van Eyck

Last half a year was a hectic experience including work on three commercial projects withn the agency, one private on my own, reworking our rented flat in Moscow and travelling for work reasons loads. Nevertheless, I do feel that I need to go on with my own research and for this reason have started producing some new sketches recently, which I inted to post soon.

I have been reading 'Politics of Installation' by Boris Groys, which brought me to another point of seeing my work. Previously I was more interesed in investigating sensations formed by the engagement of the viewer and the space. Nevertheless, this process presupposed not only physical intervention, but viewing an image.

In regard to the space of the installation, Groys points out that it is not a circulating space a as conventional space of the museum is. This space is transformed into an art object, hence being 'the material support of the installation medium'. He also states that among all the practices the installation lets us experience being here and now, while the video depicts the happened. Nevertheless while we participate in the space of the installation here and now, we gaze at the installed pieces, which could be videos or images. In this way, could we be positioned as merely viewres of the depicted or could we participate in both spaces simultaneusly, even if one depicts the past?

Below is a well-known painting by Jan Van Eyck 'The Arnolfini Portrait'. 

'The Arnolfini Portrait' by Jan van Eyck, 1514
Original Image Here

Convex mirror is the focal point in this painting. Georges Teyssot states that the mirror 'multiplies and interiorizes'. He states that it 'offers a clear analogy between vision and mirror...the eye is a mirror, the mirror is an eye - the mirror captures the image of things; it frames the visible by collectng the diversity of the world into the unity of it vision...the mirror also provides the matphor of the gaze'. This mise en abyme technique is of an interest for me as in this work the view appearing in the reflection, controversally to Brunellesch's experiment, is positioned behind the possible position of the viewer and his eye. It reflects the world around and in a way places us within the space of the painting as we are to view the couple from the position of the painter, who is supposingly one of the figuers reflected in the mirror. Thus, the viewer could be said to become a participant of this space and this space outside the plane could be said to be a part of the artwork.

Mirror close-up, 'The Arnolfini Portrait' by Jan van Eyck, 1514
Original Image Here

In the context of my work, the image is a part of the installation. In this way, the installation space could only be one of the spaces as there always will be another space, which is the space of a mirrored perspective.

Bibliography Overview: 'Brunelleschi, Lacan, Le Corbusier. Architecture, space and the construction of subjectivity'

I am in Moscow at the moment and had a chance to rethink my results being in different surroundings. At some point I realised that books I read have a great impact on my practice. Consciously or unaware of that, I examine thoughts that I get while reading or reflect on that what I read by means of drawing or sculptural experimentation. At this point I think that it would be important to create a reading list for future theoretical investigation, which I intend to write about later.

One the books I am still trying to gain a better understanding of is 'Brunelleschi, Lacan, Le Corbusier. Architecture, space and the construction of subjectivity' by Lorens Holm. I am reading part 5 at the moment, which is named 'The origins of Perspective' and very much interested in his debate about Brunelleschi's demonstration. The author points out the fundamentals of the experiment from the architectural position; he questions the essence of viewing and therefore the approaches to the occupation of space (or its image in the dialectics of possible 'reality' of the latter) as well as the 'outside' of it and the subjectivity of this perception. 

Front Cover
Original Image Here

While reading, I am concerned with the challenge of creating a device for the perception of the image of the space and therefore the boarders of mediation between 'viewing' and occupation and the presence of the latter at all as a result of this engagement. I wish to experiment with the argument whether 'seeing' an image could actually represent space occupation and whether what I am creating is the space, which takes a manifestation of a view.

Experiment
Original Image Here

Sketches for Further Investigations

More than half a year passed since my final show, and all this time I was wondering how I could continue my research. I started getting new ideas just before New Year while reading some new books and rethinking my results.

I worked out sketches in January and they made me think about creating a series of sketchmodels which would let me explore how this devices could move on. Here they introduce an opportunity of working with a plane instead of curves.

Sketch

Another one introduces the possibility of experiments with filming the light patterns on the plane, which forms the inside of the curve in order to project the created video onto the flat surface. This could be done at the same time with the flat surfaces as well, shifting the videos for the inside and the outside.

Sketch # 2

Furthermore, I also rethought the opportunity of investigating the role of both eyes in perception and ways of filming and projecting from two sides. I think it would be interesting to 'play' with video, projection and a number of surfaces in order to explore the mechanisms further.

Sketch # 3

Exhbition Book

The supporting book with the research development is here

Videos Filmed From the Point of Observation

 

 

The Image

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