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Space Real or Illusion

Space Real or Illusion

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Published by Robin Zelenka
Research into the application of the 2d into the 3d
Research into the application of the 2d into the 3d

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Published by: Robin Zelenka on Feb 13, 2012
Copyright:Attribution Non-commercial


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Robin ZelenkaResearch PaperNov 2011Space: Real or IllusionGenre and medium are the key choices that an artist manipulates to translate their creativeexpression: although it is the space within the work that makes the interpretive information thestrongest for the viewer. Rationally speaking, the word space has a multitude of definitions which canbe categorized into two main categories: time and its duration, and an area or extension. As artists weconsistently deal with the space within and around our work on a daily basis, but which of these ideasconcerning the inclusion of space become the driving force that pushes the direction of the work.Many artists choose to create space by using the principles of color and illusion. Painters whowish to portray depth on a flat surface must work continually with adequate choice of line and color toachieve the sense of a third dimension. Zdenek Koeib is one such painter that works under the guidelinethat the presentation of space as a concrete dimension is justifiable in nonconcrete abstract art. (Koeib)He has divided the dimensional space within his paintings into three different categories; positive space,negative space, and quasi-negative space.In this reference, the positive space within a painting refers to the concentration of the dynamicenergy or aesthetic manifestation of applied work to a piece. In contrast, the negative space within thework is passive and subordinate to the positive space. Without the use of negative space to add abalance to the work, a piece with only positively activated space tends to appear flattened. Koeib makesa distinction within his work that he refers to as the quasi-negative space. This space refers to hisintegration of linear or geometrical based designs into the negative space of his paintings that add adimensional value to an otherwise passive area of the work. His inclusion of the quasi-negative spaceenhances the effectiveness of the paintings by creating a greater variety in the composition andstrengthening the visual tension.
Robin ZelenkaResearch PaperNov 2011Other artists like Opy Zouni have expanded beyond the two dimensional plane. Due toher preoccupation with the representation of three dimensional spaces she started expanding her workby creating pieces on constructed surfaces. Zouni attributes the direction of her work to the influencesof the vast deserts and seascapes of her homeland, Egypt and her current home of Greece. (Zouni)These influences become apparent through her strong use of contrast and geometrical images. Forpainters the use of color contrast is a widely used practice, but Zouni also plans her contrasts by the useof different surfaces and textures to add into the work or as the foundation of its construction.Geometrical planes or linear patterns are used frequently with the work to assist in the overall illusion tocreate a feeling of depth. Similarities exist between the use of line and contrast to create space in thework by both Zouni and Bridget Riley.Riley, who was also known as the queen of Op Art, based her work primarily on the opticalillusion that is created by both contrast of colors and linear planes. The end result of Rileys work hadthe appearance of depth and movement, because of how the eye reacts to the illusionary space createdwithin the painting. Various artists like Zouni, have used this type of technique within their work toenhance and create space without focusing solely on optical trickery. In addition to the use of color andcontrast to create the illusion of space, two dimensional artists have used three dimensional objects in avariety of combinations to achieve similar results.Interesting spatial effects are created when two separate types of visual vocabularies worktogether to form a single unit. Daria Dorosh relies upon the activation of two separate entities to createdynamic relationships in her work. She chooses to convey the transitions between art and object,illusion and reality, abstraction and realism by releasing the autonomy of her paintings in her juxtapositions to create a new vantage point. (Dorosh) In some of her work, she achieved these resultsby adding a chair positioned in front of the painting which placed it into the role of the background. This
Robin ZelenkaResearch PaperNov 2011new situation made the painting less iconic and because of its interaction with the space thecombination made the work more powerful for the viewer.Considerable amounts of two dimensional artists who search to create the space of the threedimensional genre have grown out and away from the standard placement on the wall with their work.Artists that are motivated by the need to include more space or a sense of depth tend to feel limited byadhering to the standard use of perspective and contrasts within the two dimensional plane. DariusLipski is one of the artists who gave up trying to base his work upon the two dimensions to experimentin the third dimension, because of his strong desire and motivations to achieve a greater sense of space.Space, with its constant changes and limitless character, allows an artist to consider a variety of creativesolutions. (Lipski) His work has moved far beyond the walls or the gallery space into nature. Lipski feelsthat the changes that take place within the biological atmosphere of nature allow him the inspiration tocreate work that more closely resembles infinite space. When one works in the three dimensions theybecome more aware of the importance of the creative process, because it will reflect a truer state of lifethat we encounter daily. This state of existence is constantly undergoing change depending on time,weather conditions, the season, place and the mental state of the artist.The state of the artist in turn is driven by their own perception or mental space; which is inreality an image of a physical space. Mental space is then the result of a constructive process thatusually causes the perceiver to view the world not as it is but in a way that is conditioned by theconventions of his culture. (Patricios) Since space is a product of the individual mind and is driven by anartists cultural conventions, can we actually know whether it is real space or an illusion?

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