Figurative Photo-Sculpture with 3-D Pointillism

Abstract

Throughout history, the pictorial artist has been occupied with the problem of translating the language of actual subject space to that of a plane. The solutions have varied from the overlapping contours of cave paintings, to Renaissance drawings in perspective, to multi-faceted cubism, to 360-degree cinema projection. It follows that much of the viewer's perceptual life has been spent squarely in front of various picture planes, his brain continually suppressing the richness of his binocular vision in order to interpret the illusory space displayed on flat surfaces. This suppression continues even with the printed word, a medium embedded in a simple plane that limits its linguistic structure to twodimensions. As a result, many artists have turned to the kind of abstractions that eliminate illusory space. Other artists have adopted relief construction, that is, an object without the mass of sculpture but using a physical language unlike that of painting and photography. Recently, an awareness has emerged that stereoscopy, holography and photo-sculpture are the first tools that permit the recording or creation of a sense of space without a space-to-plane translation by the artist and that permit a new approach to figurative imagery without the need for illusory space perception by the viewer. In addition, holography and photo-sculpture permit useful cues of motion by kinetic depth effects (motion parallax). And further, photo-sculpture, a hybrid photograph/relief object, will permit a reversing of the creative process-the construction of an actual space structure directly from a planar subject. Of course, regardless of the direction the artist takes, space-to-plane, space-to-space or plane-tospace, his medium must be spatially plastic for all cues of depth perception. It should allow him to depict various spatial elements and intervals isomorphically, by chance or at any intensity determined by his iconic or conceptual plan. The advantage of stereoscopy, holography and photosculpture to the artist is the exceptional control he achieves over the unique, but culturally atrophied,

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