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Abstract

This research is an investigation into the way the outline is
perceived when drawn three-dimensionally in space. I wish to
question if the outline in nature is a human construct. Lines, which
define a recognisable solid object, are the 'things' that do not exist
in reality. Current thinking on outlines involves a contrast of light
at the edge of an object against a background that, combined with
movement, is perceived as an outline. I am interested in the
artificial framework and the invisibly rendered mass that result
from making an outline of an object. By creating several linear
structures from various materials such as copper tubing, steel,
aluminum and wire, I have explored visual perception to discern
meaning. The choice of objects chosen for depiction and the
subsequent titles that evolve from the works derive from thoughts
and visual ideals that float over my consciousness. Social, political
and emotional nuances such as futility, fear, privacy, safety and
consciousness of self are imbued in the artworks.
How does the apprehension of a three-dimensional linear structure
differ from that drawn on a two-dimensional plane? Drawing is
associated with mark making on a two-dimensional surface. These
works seek to experiment with lifting the line off the page to make
three-dimensional drawings. These drawings physically engage
space. The movement of the viewer around the object becomes
significant in the experience of perceiving the forms. The use of
bright colours and the lack of a solid mass confuse the figureground
relationship. The contrast flattens the objects out visually,
particularly at a distance, creating an illusion of twodimensionality.
During my research I have looked at Alberto Giacometti, David
Hockney and Paul Klee for their life-long enquiry into visual
perception. I have mentioned Hossien Valanamesh, Susan Hiller
and On Kawara because of their simultaneously subjective and
objective approach to art practice. Alexander Calder, Gertrude
Goldschmidt and Robert Owen have used wire, steel and aluminum in a linear fashion and the resultant artworks have been of interest
to me.
The last piece of work is different in that it is a video installation
exploring the theory of movement of a solid object in the formation
of outlines. There is a strong emphasis on sensory responses to
colour, sound and visual repetition. I felt compelled to do this in
order to look at perception.
Luminescence, I have found, is a key quality in determining depth
perception and the resultant figure-ground relationships. I have
deduced that even though I have produced many 'contained' spaces
and representations of a solid mass, these objects are perceived as
two-dimensional from a distance.
In creating linear structures, I have discovered that the viewer has
to 'work harder' visually to apprehend the object. This can be
explored using time, movement and colour. I have revealed that the
use of this form of object making is an exciting way to explore
other concepts that impact on my daily life. There is a thrill in
creating a line, which cuts through space, applying colour and
marveling at the visual and psychological responses that it imparts.

Item Type:	Thesis - Research Master
Authors/Creators:	Mestitz, A
Keywords:	Space (Art), Visual perception, Drawing
Copyright Holders:	The Author
Copyright Information:	Copyright 2004 the Author - The University is continuing to endeavour to trace the copyright owner(s) and in the meantime this item has been reproduced here in good faith. We would be pleased to hear from the copyright owner(s).
Additional Information:	Thesis (M.F.A.)--University of Tasmania, 2004. Includes bibliographical references
Item Statistics:	View statistics for this item

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