Modernartists have persistently reviewed and criticized the techniques andperspective behind the presentation of three-dimensions ontwo-dimensional surfaces. Ideally, technicalities such as perspectivehave been widely considered as not only disorderly to the desiredlevels but also disorienting in a manner that the true sense of artis not displayed and identified. Although perspective provides anopportunity for the geometric presentation of art in depth ontwo-dimensional surfaces, it fails in the production of all featuresexpected in three dimensions. Perspective does not enrich thepotential of discovering and ‘feeling’ art to its audience as itprovides quite little content for exploration compared to completetwo-dimensional presentations. Canvas and paper are, more or less,considered dogmatic in the context of three-dimensionalrepresentation even when they are more valued when it comes totwo-dimensional art. Nevertheless, photographers have significantlychallenged the audience’s view of the world through theaugmentation of illusion and spatial depth in the presentation of thethree dimensions on two-dimensional surfaces.
HenriMatisse is one of the artists who have succeeded in the eliminationof illusion to present more vivid representations of two dimensionalart. Harmony in Redis one of the most notable presentations by Matisse where heeliminates traces indicating any three-dimensionality attributes,which was dome through the unification of distinct spaces into acommon and uniform field of design and color. Matisse assumes thesame fabric and color for both the tablecloth and wallpaper besidesusing similar and seemingly repetitive shapes throughout hisrepresentation. The illusion of three dimensionality is furtherreduced through the conversion of the window into a frame, whichcontradicts the values of perspective. On the other hand, Cezanne’sMme.Cézanne in a Red Armchair doesnot have high degrees of spatial depth even when the armchair seemsto have a projection to the right (Sayre Chapter 5, p. 20). Much ofthe presentation seems flat, especially to the left side while thestripes on Cezanne’s dress seem to have a vertical projection fromher feet to the point they meet her blouse almost parallel to theframe. The two artists show a high level of rebellion towards thepresentation of three dimensions on two-dimensional surfaces,primarily through the reduction of illusion.
DougAitken in Black Mirror, underscoresthe difference in three-dimensional and two-dimensional presentationsby tending towards the latter using video graphics. Although thethree-dimensional attribute of the video cannot be disregarded, thepresentation of space and differentiation of viewpoints relates tothe works by Matisse and Cezanne’s. According to Vankin (n.p.) inher article on the Los Angeles Times, the video installation byAitken reviews the nature of human life and tends towards therevelation of reality through motion. The installation has focus onthe audience even when it is rather disorderly and chaotic throughoutits scenes. The fact that it is a motion picture makes it have asense of reality besides the intense indication of dynamism in lifeand the environment. On the other hand, the installation focuses ongiving the view significant spatial experience as well as differentviewpoints. The video installation by Aitken gives particularattention to the context, as the drawing by Matisse. Theinnovativeness of the artist enhances the ideals of space, especiallyconsidering that the display screens are fitted with variations inangle and size.
Aitken, Doug. Black Mirror. 2015. Web. 24 Mar. 2017.Available at: https://www.youtube.com/watch?v=QUfn1X2i_cM
Sayre, Henry M. A World of Art. 1st ed. PearsonEducation, 2015. Print.
Vankin, Deborah. "Doug Aitken`s `Electric Earth` Will Shake TheMOCA Landscape". latimes.com. N.p., 2016. Web. 24Mar. 2017.