Perception

One of the most fundamental aspects of painting is deciding how to create an image. To do this we must consider how we can translate a sense of an object/image into a visual manifestation. We can use any number of sources to do this: pure imagination, photo-sources, sketches, observation, and any combination thereof. We also have to consider that others will view this image and they will need to interpret it in some fashion. Those familiar with semiology will know this process of representation as it relates to language- and we can consider visual art a part of this process as well.

For this project, we will be testing several ways of using sources to create representations. We will do this by creating three paintings of a single object in different ways. By creating several representations of the same object, we will have a basis for comparing these methods and evaluating their advantages and disadvantages for you as an artist. First, the painting will be based on a written description- thereby testing our ability to transform language into visuals and using our sense of imaginative construction. Second, we will be provided a photograph- which will provide be a limited sense of the object already translated into 2 dimensions through the filter of the camera. Finally, we will use in-vivo observation to test our physical perceptions. After each painting, we will record reactions to this process.

Consider
How do we choose how to represent something visually?
How can different sources affect our representations?
What are the advantages/disadvantages of each method of representation?
How do these methods compare and how can you as an artist create representations for future works?

Materials
Objects, three 9 x 12 inch canvases, & other painting materials.

Part 1: Imagination
-Select an object that you feel is visually stimulating. It can be beautiful or ugly, complex or simple. The object can be any size- but should be something that can be brought to class (eventually). Write a description of this object as you would paint it. Include as many specifics as possible- including references to size, shape, color, texture, lighting, angles of viewing, etc. You might consider how it might be described in an art history paper, a scientific analysis, or a poetic interpretation. Approx. 250 words. Due Friday, Jan. 23
-Each student will pass his/her description to a partner, so no late submissions will be tolerated. Once you receive your partner’s description, it’s your task to create a painting based on this. You may interpret the description as you see fit.

Part II: Photo source
-Create a photographic representation of your object. You should use digital camera and consider the setting, composition, focus, lighting, color, etc. You may alter the image using Photoshop, etc. if you feel it will better describe the object. Photographs should be printed on photo paper (to be provided), at least 8 x 10 inches with good clarity and color. Pass this photograph to your partner.
Due Tuesday, Jan. 27
-Once you receive your partner’s photograph, create a new painting based on it. Notice the ways that the photograph has treated color, shape, perspective, etc. Do not reference the Imagination painting.

Part III: Observed
-Each student will pass their object to their partner for the final phase of this project. Due Tuesday, Feb. 3
-Once you receive the object from your partner, do a painting based on observation of it. You may create a setting for the object- and it will be important to think about lighting as well. Notice the ways that you see color, texture, perspective with your eyes. Do not reference the Photo-based painting once you have begun.

Analysis
We will do a brief written analysis after each of the phases of this project. These analyses will help us to interpret what we notice about painting in the different methods.

Look at
Rene Magritte

Magritte used his paintings to imbue ordinary objects with new and extraordinary significance. His famous work, “The Treachery of Images”, reminds us that ‘Ceci n’est pas une pipe’ / ‘this is not a pipe’- i.e. he is creating a representation of something, while at the same time asking us to believe that it is that thing. We still struggle with this question concerning representation. His descriptions of objects seem neutral- as if they are the imagined sense of these objects, not created from observation with the resultant color sensitivity and physical irregularities.


Gerhard Richter


One of the preeminent figures in the art world, this German painter has pioneered new territory in painting through his use of photography as source. His paintings often involve scraping or blurring the image to shift or distort it. He describes these paintings as similar to photography in that they provide a model for a reality- not a representation.

Michael Byron

Byron’s series of grisaille paintings are based on black and white photographs of famous art objects. Droplets and other signs of deterioration overlay these images and further separate us from the objects (or their representations).
NY Times Article

Ben Weiner


This American artist creates dramatic close-up views of ordinary objects. Pieces of ice, tin foil, or pearls get transformed into large dramatic paintings through his use of color and strong value that also depend on photo-based work and artists like Marilyn Minter.


Albrect Durer


Durer is one of the canonical painters- known for his intense interest in naturalism and observation. In his nature studies, we can see him scrutinize each hair follicle or fleck of earth in an effort to create an intensely faithful image of reality.
Wikipedia article