Alberti's De Pictura, (or was it Kirby's cover art?) I have approached drawing and painting more-or-less as a window. At least when I am in my "representational" mode.
From page 69 of Practical Perspective: Being a Course of Lessons, Exhibiting Easy and Concise Rules for Drawing Justly All Sorts of Objects, by Henry Clarke:
"I think. . . it would be no bad method if our capital landscape painters. . . were to write down on the back of the canvas, the height of the centre, and the distance of the perspective plane. For then the picture might be placed to advantage. . . [and] would appear to the eye exactly agreeable to the painter's intention."
But now I want my audience to be sucked in until their noses are pressed against the surface and simultaneously repelled so that the painting can only be taken in from a distance. Multiple distances. I suppose I was doing something like that in 1994. Interesting surfaces disrupted by planes that other painters would turn to me and say "How did you do that?" while stroking the background. Philistines would like them because they could sense space. Win win.
|Steven LaRose, The Insect that Deceives, 1994|
Acrylic on wood, 12 x12 inches