NUDE PORTRAITS AND THEIR RELATIONSHIP TO PERCEPTION
THE NUDE PORTRAIT IS SIMPLY THE ARTIST'S PERCEPTION OF THAT BODY. INSTEAD OF DIRECTLY MIMICKING TRADITIONAL OP ART, THIS PROJECT DELVES INTO ITS ORIGINS AND EARLY WORKS. INFLUENCED BY DUCHAMP'S NU DESCENDANT
L'ESCALIER N°2 (1912) AND JULIAN STANCZAK'S RED CHRIST (1960S), THE PROJECT CAPTURES OP ART'S CORE AIM OF CREATING EYE FLICKERING.
L'ESCALIER N°2 (1912) AND JULIAN STANCZAK'S RED CHRIST (1960S), THE PROJECT CAPTURES OP ART'S CORE AIM OF CREATING EYE FLICKERING.
THE FOLLOWING ARE MADE OUT OF MORE THAN 4,600 OVERLAPPING LINES INSPIRED BY JULIAN STANCZAK’S“ RED CHRIST”, (SEEN ABOVE). ONLY WHEN VIEWED UP CLOSE CAN ONE BEGIN TO DECIPHER EACH LINE’S ORIGIN AND UNDERSTAND WHAT IT
REPRESENTS, SO IT MEANS: PERCEPTION ITSELF
REPRESENTS, SO IT MEANS: PERCEPTION ITSELF
THE RELATIONSHIP BETWEEN THE NUDE PORTRAIT AND PERCEPTION CENTERS ON NOT ONLY HOW EACH ARTIST CAPTURES THE BODY IN A DISTINCT WAY—DEPENDING ON THEIR MEDIUM AND TECHNIQUES—BUT ALSO ON HOW EACH VIEWER INTERPRETS THE ARTWORK DIFFERENTLY. WHAT APPEARS LARGE TO ONE PERSON MAY SEEM SMALL TO ANOTHER. FOR THIS CONTEXT, FOCUSING ON OPTICAL ART, PARTICULARLY MOVEMENTS LIKE CHROMOLUMINARISM AND FAUVISM FROM THE 1960S. OP ART, BY DEFINITION, TRICKS THE EYE INTO PERCEIVING DYNAMIC EFFECTS IN STATIC IMAGES AND USING COLORS TO CREATE OPTICAL ILLUSIONS OF MOVEMENT, DEPTH, OR VIBRATION. THE NUDE PORTRAIT PORTRAYS NOT ONLY THE HUMAN BODY, BUT ALSO HOW THIS INTERACTS WITH PERCEPTION, IN THIS CASE THROUGH THE LENS OF OPTICAL ART. HIGHLIGHTING THE SUBJECTIVE THE NUDE CAN TRANSCEND MERE REPRESENTATION.