Today’s entry describes how I transitioned from my electric light studies, and began to consider the horizontal landscape beyond the Belvedere and install panels of various degrees of transparency and opacity to frame, focus, and filter the views surrounding the structure.
As I began to install these panels and cut away openings, which are not unlike windows I guess, the project really began to take shape for me. It also seemed to become more integrated into the site (both the most immediate environment as well as in relation to far off vistas).
There are many different perspectives from which to consider the work. I have included a handful here that I think are important. Some of the images depict the entire structure as viewed from the outside; they reveal the harmony between art and architecture and thereby the work's status as object. Other images reveal various outlooks taken from inside the structure that direct the viewer's gaze to specific parts of the entire scene.
As lighting conditions change, as seasons change, as viewer positions change, the work and views it reveals also change. There seem to be so many moving parts! In this revolving process of mine, time and movement become small moments that accumulate into larger ones, and will hopefully lead an audience toward a more holistic understanding of the work. He/she steps back to absorb the whole structure in its context and then steps closer to notice the surface details that direct our eyes toward the multiple views that the structure frames.
The interplay between macro and micro views in this work relates more broadly to my interest in elusive ideas about being and knowing. I'm interested in the relationship between the big picture and small details, where one is a reflection of the other (and becomes the other over time). I also like to think about how we can consider the multiple perspectives and vistas in this work in metaphorical terms. If the pursuit of knowledge is complicated by distinct levels of visibility and tangibility (not to mention infinite points of view) then how does one understand the validity of ones’ own perspective and that of others, particularly when they contrast?
Calling attention to such questions is an important part of my practice and is present in the visual artifacts I create. Such thinking occupies my mind during the process of creating art work like the one you see here.
TEXT BY JUSTIN LOWMAN
This is Justin's final post in advance of Sunday's Perceptual (Part Two). We hope we see you there! If you're planning on coming and haven't already RSVPed, please do so on our Facebook page.
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