Drawn : an exploration of space, perception and three-dimensional line drawing

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.