These are a few ideas I had at the end of my second year relating to phenomenal experience. These are a few loose ideas for final pieces or perhaps instillation ideas if were to be presented in a gallery space. As the paintings are about experience I thought it would be interesting to curve the canvas, so that the viewer is surrounded in order for peripheral vision to be enclosed within the image. By accounting for peripheral vision, this gives the illusion that the painting has no edges. With this in mind the viewer would be suspended with no reference point such as an edge in order to understand where their position is within the painting. At the MoMA gallery one of Claude Monet’s water lily paintings is displayed on a curved surface, encasing the viewer in this expressionist world. So, this is not such a new idea. Another idea that although being my favourite would be quite expensive and tricky to pull off, is that of creating a spherical environment in which the perceiver would walk around and into. Experiencing both inside and outside the shape. Again with this idea that the viewer would have no reference point of an edge, or any clue of foreground or background the visual experience would hopefully give the viewers body a sense of floating or imbalance. In my third year I’d like to see if could create a few little mock up ideas possibly using modelling foam or vacuum forming half spheres and playing around with materials. Lets see what the future holds!
Installation view of Monet’s Water Lilies (1914-26) at MoMA. September 13, 2009–April 12, 2012. Oil on canvas, three panels. Overall 6′ 6 3/4″ x 41′ 10 3/8″ (200 x 1276 cm). Mrs. Simon Guggenheim Fund. Photo by Thomas Griesel
In my second year phenomenal experience and the relationship between the physical reality of the world and our conscious understanding of it has been paramount within my painting development. As a painter I want to explore ideas involving visual experience and how our perception of the world around us can have a physical effect on our bodies. Understanding how the mind works when stimulated by what is around us, and how visual experience in particular stimulates conscious thought, emotions, memories and ideas has been a modern revelation within the complex world of neurology. When looking into the biological basis of how conscious thought arises, there is still no close answer to understanding what it is initially like to experience something first hand exactly the way you see it. This is the idea of Quaila – “what it feels like” to experience something. Our vivid experience of the world is the only information we have to understand reality, and it can be overwhelming at times, similar to that in the early development within babies. The babe’s senses are inundated with visual information, light and movement that has no structure or form to it, where there is little to no understanding of what any of this means. To be able to strip back visual experience to this overwhelming lack of structure and understanding, and to really immerse the viewer within a positive overwhelming experience of pure experience is my goal. Hopefully my Final Project pieces for my second year assessment convey these ideas on experience, and I am looking forward to exploring these ideas more so in my third and final year practices.