pERSPECTIVE/PERception

Perspective is quite intriguing and can be applied across the board in all aspects of life: whether discussions regarding personal struggles, a bad relationship, a new friend, optimism versus pessimism or viewing artwork. Our perspectives and our perceptions can be extremely similar or can be at total opposite ends of the spectrum. Tricky indeed pertaining to art when observing the same composition and it evoking meaning to you that did not resonate in another person. Livingstone begins her chapter, “From 3-D to 2-D: perspective,” discussing the challenge that many artists face concerning representationalism. As an artist myself, it definitely can be problematic to portray the three-dimensional world I see onto a two-dimensional canvas. Preservation of the frontal plane is key and obtaining the desired depth. The subject matter and how accurate I want to be in my depictions and consideration of the medium I am working with all play a vital role in this portrayal of 3-D onto a 2-D surface. Representationalism of depth perception would present itself differently in an impressionist painting divergent to an abstract painting and the use of gouache versus acrylic for instance.


The location in depth of frontally oriented surfaces has been shown to be by a number of perceptual factors. In order to make depth relationships visible artists make the eye grasp the representation of space directly. The viewer can then infer the relative spatial position of objects in paintings. The artist controls the frontal plane to make sure there is unity of the work. This enhances the interplay between the positive figures and the negative, aiding to the expression of the overall composition. Arnheim states that the perceptual effect conveys the expressive meaning of the work. He continues to say that knowledge determines the spatial effect only when perceptual factors are absent or ambiguous. Yet in the next breath, he says that these situations are useless artistically because in them the spatial structure of the visual field is overruled by non-perceptual agents. This is where he perplexed me a bit. There are so many rules to consider in order to maintain accurate perceptions of the spatial structure of a composition.


Arnheim throws me off again, “no intention and no skill, will ever make the depth effect truly complete, except on the far away ceiling of a church or in combination with stage tricks? Why is this Why does the physical space of a picture remain a flat surface to its observer? Is it because of our inability to perceive 3-Dimensionality precisely onto a 2-Dimentionality surface? Are there varying perceptual effects that apply when conveying architecture; specifically open and solid areas, the function of doors, colonnades and ornamental elements that make the depth effect process or goal a success? What are the rules for figure ground representation with depictions of people and other non-structural designs?


Sorfori "Jazz"...Artist from Ghana I felt that this composition was an excellent example of depth perception and how perspectives can differentiate within a single piece.