The world space has been divided into thin slices of color. As the objects moves through one slice entering another one the color changes. Color appears as rings because of the curvature of the object. The object’s speed of movement through space determines the rate of color change. The world space can also be sub divided into thicker sections. Their orientation as well as the world color space can be altered over time. Color space can be changed at a faster pace than the movement of objects.
I was influenced by the work and statements by Leonardo and Cezanne about transition. Leonardo described transition as sfumato as “without lines or borders, in the manner of smoke or beyond the focus plane”. Cezanne used something he called the “passage” shape as a transition between adjacent forms or shapes. The “passage” shape functioned like a bridge moving across the borders of a form. As a consequence borders or edges were irregular and abstract. Cezanne’s notion of transition was related more to form as an emerging phenomenon.
Both notions of transition appeal to me. I like the level of control over pixel distribution involving light and transparency provided by computer graphics. For me space becomes layers of transparency and light offering a smooth transition between space and form. (see more examples at www.csurivision.com.) I am especially intrigued by the way this approach works with animation.
Another image from my Venus in The Garden series. Here Venus is somewhat incomplete making the representation more free and open. Because of transparency the objects from behind function like modulations within Venus. Perhaps the viewer can bring their imagination to the work and fill in the details. I tried to treat Venus as a phenomenon emerging from space. As if she is from an earlier time and place.
Works like this one are influenced by earlier artists. I have always loved incomplete works especially quick sketches by major artists.The unsigned drawings by the old masters, especially Rembrandt. They look unfinished and sometimes the idea is not clear. It’s like a personal note by the artist to himself. Never intended for the world to see.
Do the brush marks imply an invisible reality of objects such as spheres? I can simultaneously see a front and a back of the brush marks. Is it too poetic to say an invisible universe controls or shapes my
external reality called brush marks? Before I even begin I must be able to visualize the invisible.
Is it the invisible which gives a greater feeling of infinite space? While my initial motivation was to create something which looks like brush marks in 3d, the spatial qualities were a bit of a surprise to me. I like the touch of magic.