The Flat Reflection of the Universe
In the world we exist in inhabits our notion of the three-dimensionality. Thus anything from a human being to a thin sheet of paper bears the notion of the three-dimensionality. However, this understanding alters when we examine outside of the microscopic perspective of our feet onto the universe. At which this abstract perception of the universe when grasped through the perspective on a large-scale diminishes this substantiality to merely a bulge and considered as something flat. This overview mirrors the characteristics of photography and reflection that seem to display something in three-dimensions which also ties into the nonsensical meaning put forth in the world we reside in. These ideas set forth arise within the cultural adaptation and imitation of others which has been termed ‘meme’ by Richard Dawkins. From the day we are born until the day we die each and every one of us is taught to mimic the expectations, opinionate others from the shallow perception of others, the meaning of things, how we are supposed to live and the emotions we are supposed to feel. Although these notions in our reality exist on a relative plane it is merely an attachment from our egos and the mimicked perception from our society, leading us towards the biased, dull perception of our lives. I mention this due to the perceived perception set upon the lives that neglect the introspection of others as well as ourselves as we try to mask our authentic inner emotions. Mirroring the objectivity of the colours white and black this founded basis bears true to the nature of our tunneled minds. Leading us to hastily conclude and distinguish things in broad terms such as the depicted emotions of happiness within a relationship until one has situated themselves amidst the shoes of the couple or the despised use of drugs without the care of one’s upbringing, history and their state of mind. This foundation is akin to the broad view of the flat-surfaced dimensionality of space. In regards to the flat plane and our tunneled viewpoints, through the belief of three-dimensionality along with the illusions of photography and reflections which in essence are flat two-dimensional representations, I try to exhibit an alternate reality, different perspectives and this illusional facade of the normalized perception and its oblate quality of our opinionated, dull minds.
In essence to my work lies countless artists who all similarly display different perspectives and illusionary works as well as similar ideas. Scott Fortino a midwest photographer being one of them. Fortino was a Chicago police officer and a graduate from Columbia College Chicago who continued his graduate education towards photography and has even had a solo exhibition at the Museum of Contemporary Photography [3] Ibid. Due to his position as an officer, this allowed him to capture images in locations that were restricted to the public [3] Ibid. Amidst his series Between Utility and Desire, he captures images in a distinct manner from his fascination for the absence of human beings in empty spaces by intertwining the natural settings of its environment and reflections, reflecting similarly for my engagement amidst my series. The series conveys a set of emotions, most notably the feeling of isolation along with the fear and desire to diverge from everyday life, emphasized by the vacant chairs and its environment [4] Ibid. Thus creating a conflict between pursuing his introspection and the fear of becoming the black sheep at which he has already yielded to which is an essence I need to further enhance and succumb to for the interpretation of my ideas.
This complicated yet simple enigma is what guides many artists and like Minor White who sought to understand the meaning of life we may never discover the keys to the conundrum but we can try to discover the keys behind the impelling ideas of our work. White, born in Minnesota was influenced by Ansel Adams who have both paid close attention to detail, capturing vivid images. White was not only an artist or a prominent figure in the world of fine art but he was also a teacher [6] Ibid. His influence and teaching have challenged and transformed the ideas and techniques of photography from images like the Capitol Reef, Utah. This image lacks the standard exposure of many photographers yet the dark image, almost pitch black captures a vividly detailed image of a reef [7] Ibid. The image also encompasses aspects of abstractness as well as the altered perception of what we regard as a reef which displays the potential of photography through the use of various techniques opposing the ideas for the principles and what we regard as photography. The Lighthouse and Wood, additionally root itself further into the core by giving us a unique perspective as we are given an image of an image similar to my work with reflections. This humourless delivery hints us the concept of photography which also yields his separation to mimic the desired expectations of life and guides us to dispute the meaning of life itself. The surreal approach White demonstrates on his canvas is what I try to resemble in my photographs by applying different aspects to the representation of everyday identifiable things. Additionally like White, I try to utilize both the approach of oversimplification and enigmatic impressions for my images that allows for overinterpretation which bears the characteristics of myself.
Amidst the search for the identity of one, Whit Forrester is an artist who works with the beliefs of individuals and its connection to mythic ideas through various crafts of artistry. Forrester, a graduate from Columbia College Chicago is based in Chicago [9] Ibid. The set images of the plants relate to an ideology by Rudolf Otto, ‘numinous’. This ideology signifies one’s nonsensical appraisal for higher beings through the act of self-degradation in return for nothingness [10] Ibid. He employs the use of ordinary objects in this case ordinary plants that seem to be near its death to symbolize the deterioration of one and heightens its attributes by painting gold leaves around the plants in an attempt to resemble holy paintings to showcase a divergent representation from its natural setting [9] Ibid. The foundations of the ideas set forth are similar to the Readymades by Marcel Duchamp which both evoke the nonsensical meanings for the ideas we continue to contribute to. However, unlike Duchamp’s harmless humour, Forrester takes this approach a step further by essentially appropriating and mocking the people who follow under the beliefs of divine beings. And although Forrester employs an aggressive procedure that is taboo and conveys a whole new meaning, the key aspects he utilizes mirrors my project from the use of a different perspective along with the use of appropriating other people’s art. Through this, his extreme exploitation has led a step forward for my work by allowing me to slowly anchor deeper into subjects that are uncomfortable and almost taboo but I have yet to fully break out of this cage.
Through the characteristics of photography and reflections, it grants me what no other art can which is the paradox created by the butting factors for the contrasting elements of actuality, reality, and fantasy. In addition to these characteristics, it is magnified from the perceived three-dimensionality of the flat, two-dimensional surface of the medium itself and the reflections at which I try to exhibit the normalized perception of the dull, flat nature of our society along with my different perspective. From Minor White, Scott Fortino, Marcel Duchamp to Whit Forrester who have all showcased the boundless creativity and ideas by shattering the glass of principles and the nonsensical meanings that are reinforced by society. They have gradually transformed my ideas allowing me to slowly approach critical and taboo subjects by embracing the feeling of isolation and differed perspective.
In the world we exist in inhabits our notion of the three-dimensionality. Thus anything from a human being to a thin sheet of paper bears the notion of the three-dimensionality. However, this understanding alters when we examine outside of the microscopic perspective of our feet onto the universe. At which this abstract perception of the universe when grasped through the perspective on a large-scale diminishes this substantiality to merely a bulge and considered as something flat. This overview mirrors the characteristics of photography and reflection that seem to display something in three-dimensions which also ties into the nonsensical meaning put forth in the world we reside in. These ideas set forth arise within the cultural adaptation and imitation of others which has been termed ‘meme’ by Richard Dawkins. From the day we are born until the day we die each and every one of us is taught to mimic the expectations, opinionate others from the shallow perception of others, the meaning of things, how we are supposed to live and the emotions we are supposed to feel. Although these notions in our reality exist on a relative plane it is merely an attachment from our egos and the mimicked perception from our society, leading us towards the biased, dull perception of our lives. I mention this due to the perceived perception set upon the lives that neglect the introspection of others as well as ourselves as we try to mask our authentic inner emotions. Mirroring the objectivity of the colours white and black this founded basis bears true to the nature of our tunneled minds. Leading us to hastily conclude and distinguish things in broad terms such as the depicted emotions of happiness within a relationship until one has situated themselves amidst the shoes of the couple or the despised use of drugs without the care of one’s upbringing, history and their state of mind. This foundation is akin to the broad view of the flat-surfaced dimensionality of space. In regards to the flat plane and our tunneled viewpoints, through the belief of three-dimensionality along with the illusions of photography and reflections which in essence are flat two-dimensional representations, I try to exhibit an alternate reality, different perspectives and this illusional facade of the normalized perception and its oblate quality of our opinionated, dull minds.
In essence to my work lies countless artists who all similarly display different perspectives and illusionary works as well as similar ideas. Scott Fortino a midwest photographer being one of them. Fortino was a Chicago police officer and a graduate from Columbia College Chicago who continued his graduate education towards photography and has even had a solo exhibition at the Museum of Contemporary Photography [3] Ibid. Due to his position as an officer, this allowed him to capture images in locations that were restricted to the public [3] Ibid. Amidst his series Between Utility and Desire, he captures images in a distinct manner from his fascination for the absence of human beings in empty spaces by intertwining the natural settings of its environment and reflections, reflecting similarly for my engagement amidst my series. The series conveys a set of emotions, most notably the feeling of isolation along with the fear and desire to diverge from everyday life, emphasized by the vacant chairs and its environment [4] Ibid. Thus creating a conflict between pursuing his introspection and the fear of becoming the black sheep at which he has already yielded to which is an essence I need to further enhance and succumb to for the interpretation of my ideas.
This complicated yet simple enigma is what guides many artists and like Minor White who sought to understand the meaning of life we may never discover the keys to the conundrum but we can try to discover the keys behind the impelling ideas of our work. White, born in Minnesota was influenced by Ansel Adams who have both paid close attention to detail, capturing vivid images. White was not only an artist or a prominent figure in the world of fine art but he was also a teacher [6] Ibid. His influence and teaching have challenged and transformed the ideas and techniques of photography from images like the Capitol Reef, Utah. This image lacks the standard exposure of many photographers yet the dark image, almost pitch black captures a vividly detailed image of a reef [7] Ibid. The image also encompasses aspects of abstractness as well as the altered perception of what we regard as a reef which displays the potential of photography through the use of various techniques opposing the ideas for the principles and what we regard as photography. The Lighthouse and Wood, additionally root itself further into the core by giving us a unique perspective as we are given an image of an image similar to my work with reflections. This humourless delivery hints us the concept of photography which also yields his separation to mimic the desired expectations of life and guides us to dispute the meaning of life itself. The surreal approach White demonstrates on his canvas is what I try to resemble in my photographs by applying different aspects to the representation of everyday identifiable things. Additionally like White, I try to utilize both the approach of oversimplification and enigmatic impressions for my images that allows for overinterpretation which bears the characteristics of myself.
Amidst the search for the identity of one, Whit Forrester is an artist who works with the beliefs of individuals and its connection to mythic ideas through various crafts of artistry. Forrester, a graduate from Columbia College Chicago is based in Chicago [9] Ibid. The set images of the plants relate to an ideology by Rudolf Otto, ‘numinous’. This ideology signifies one’s nonsensical appraisal for higher beings through the act of self-degradation in return for nothingness [10] Ibid. He employs the use of ordinary objects in this case ordinary plants that seem to be near its death to symbolize the deterioration of one and heightens its attributes by painting gold leaves around the plants in an attempt to resemble holy paintings to showcase a divergent representation from its natural setting [9] Ibid. The foundations of the ideas set forth are similar to the Readymades by Marcel Duchamp which both evoke the nonsensical meanings for the ideas we continue to contribute to. However, unlike Duchamp’s harmless humour, Forrester takes this approach a step further by essentially appropriating and mocking the people who follow under the beliefs of divine beings. And although Forrester employs an aggressive procedure that is taboo and conveys a whole new meaning, the key aspects he utilizes mirrors my project from the use of a different perspective along with the use of appropriating other people’s art. Through this, his extreme exploitation has led a step forward for my work by allowing me to slowly anchor deeper into subjects that are uncomfortable and almost taboo but I have yet to fully break out of this cage.
Through the characteristics of photography and reflections, it grants me what no other art can which is the paradox created by the butting factors for the contrasting elements of actuality, reality, and fantasy. In addition to these characteristics, it is magnified from the perceived three-dimensionality of the flat, two-dimensional surface of the medium itself and the reflections at which I try to exhibit the normalized perception of the dull, flat nature of our society along with my different perspective. From Minor White, Scott Fortino, Marcel Duchamp to Whit Forrester who have all showcased the boundless creativity and ideas by shattering the glass of principles and the nonsensical meanings that are reinforced by society. They have gradually transformed my ideas allowing me to slowly approach critical and taboo subjects by embracing the feeling of isolation and differed perspective.
Comments
Post a Comment