Interpreting themes of the frames as intervention, together with the spatial exploration of viewing cones, field of vision and angles of projection, we assembled a series of suspended and increasing distorted surfaces to create a three-dimensional apparatus for the constructive interference of the views that frame Lake Lucerne and The Pilatus Mountain.
The installation responds to the context of the Swiss landscape and the manner in which views are perceived and framed, in particular the relationship between observer, the frame and the observed. Inspired by the Bourbaki Panorama, the intention was to create an inhabitable frame which orientated the frame to revise notions of discontent, to breach inertia through the contingency of pressure and tension. Using the frame as a heuristic tool, the installation allows free movement of people within the work, transforming/returning what we perceive to be a two-dimensional plane into a three-dimensional space. This was formulated as a demonstration of asynchronous perception.
Two observations were key to the way we developed this project, firstly the perception of layers created as the landscape recedes from a single viewing point, and secondly, the distortion required by the Bourbaki Panorama to create the illusion of the real. The first is an example of how something three-dimensional is perceived as a two-dimensional plane; the second is an example of how a plane is perceived as having depth. The project explores the reality behind the fiction that simulates reality.
Times-to-consciousness: Lake Lucerne and The Pilatus Mountain, Estranged Space
Dr Mathew Emmett & David Littlefield
Special thanks to: Maya Schnorf, Alena Hoof, Nadine Chretien and Adnane Karouach.