«Constructed
Objects on a Flat Plane II» by Jonathan Chapline, 2017.
Not exact matches
The pastel - colored world of Zubrowka is captured with all the idiosyncrasy and precision Anderson is known for: written notes, books and
objects are shot straight
on with loving detail,
flat -
planed shots center characters in the middle of the frame, and hand - crafted miniatures depict many of the film's more fantastical settings and vehicles.
The paintings, again, were like
objects because these were not
flat planes, and then what he did with the plate paintings was that he expanded the canvas even more into three - dimensionality and transformed the existence of the painting as something that does not live solely
on a
flat plane, but has a presence, a volume and an inherent complexity.
Instead, they kept everything
on a two - dimensional
flat plane, upon which they laid out different «views» of the same
object: a process similar to taking photographs of an
object from different angles, then cutting up the photos and pasting them
on a
flat surface.
I'm always trying to activate the space between the
object that's really about this
flat surface
on the wall and the space between it and the viewer, so that the viewer is engaged perceptually through the movement of the strokes, the opticality, and in following my body's movement across the picture
plane like a kind of mimesis.
In this painting the hexagonal motifs float in a space that I can not help but see as deeper than the two - dimensional
flat plane that I know it is and that the painting itself keeps reminding me it is, by the refusal to open up a window
on the world of recognizable
objects, almost as if I find myself at the moment where perception attempts to become cognition and the attempt is continually thwarted.