Where I would like to go further:

_How can I turn illusion into a 3D space.
_Working on Elizabeth House- how I could come across the message of forgotten existance of the building and how could I bring it back to life.
_Deconstructing building into parts- creating meaning of time by bringing parts back together
_through illusion distorting peoples senses to sensation by introducing to something new-
_by time and motion getting parts of object back together to make a whole-
_people have a new perception of a building.

Gordon Matta Clark Sketches

_How could I bring matter of paradox into life, into 3D space, into an object.
_What would be the purpose of it
_What would be the meaning of it

Gordon Matta Clark

These are images of Gordon Matta Clark work that I came across while researching. He mainly was interested in the idea of entropy, metamorphic gaps, and leftover/ambiguous space.
I found it inspiring for my own project- my idea is to deconstruct, pull building or its details apart and construct it again- and by changing viewing perspective, you can see it back to normal again, just your perception of the building and it's space changes.

Walking around Southbank area and changing my way a little bit to quiter area for visitors, I've been drawn to this building- Queen Elizabeth House on York road. It always interested me how come it's so 70's looking office building, next to one of the biggest main link transport stations never been renewed and still stays there in a big contrast to glamourous and newly built buildings nearby. Like a ghost from the past reminding it everytime.
When I started to research a little about its history, it turned out to actually planned to be renovate/rebuid into three towers, so called "three sisters"- very hi-tech architecture. And it was refused by the designer who owned the building, saying it would be a disgrace for such a building reminding it's past just be scraped from the grounds.
Then I started to think- what aspects makes building fascinating? What detail I would have to enhance to communicate with audience, for them to understand it's beauty too? Would illusion could be a good way of passing a message to the audience?

Ephemeral things (from Greek εφήμερος - ephemeros, literally "lasting only one day"^[1]) are transitory, existing only briefly. Typically the term is used to describe objects found in nature, although it can describe a wide range of things.

Channel 4 building

I went to see Channel 4 building which is nearby Victoria, to understand how techinally sculpture has been made and what it requires to make it work visually. Whole object is deconstructed into many different parts to make a whole. Each part was like a new layer sitting on the platform. As perspective changed, parts started to make a whole, layers went into it's places, and later, when you only had a front view, gaps closed, no space in between layers-there is a new perception of an object.





































Below: Previous sculptures for Channel 4

Tape test

So I did a few experiments inspired by Georges Rousse to understard how it works spatialy and what sort of logical thinking it requires. As a friend suggested, instead of loads of thinking about perspective and how it would work, i can use the projector on the wall to project it first from the angle required and then underline the outline with tape.
I've been drawn to the process of making it and concept of it- it made an interesting point of how easily you can trick your eyes with something very simple.

Untitled from monika sutkute on Vimeo.

Untitled from monika sutkute on Vimeo.

Georges Rousse

Bringing spaces back to light by enhancing and layering a new image on top of it. Altering the scene with elaborate and precise paint patterns and physical manipulations to yield an entirely new space.











Georges Rousse by le-pere-de-colombe

Uncanny

The Uncanny (Ger. Das Unheimliche -- literally, "un-home-ly", but idiomatically, "scary", "creepy") is a Freudian concept of an instance where something can be familiar, yet foreign at the same time, resulting in a feeling of it being uncomfortably strange.

Optical tricks test

Untitled from monika sutkute on Vimeo.

Untitled from monika sutkute on Vimeo.

Examples of optical illusions

Illusion/perception

An illusion is distortion of the senses, revealing how the brain normally organizes and interprets sensory stimulation.

Depth sensation is the ability to move accurately, or to respond consistently, based on the distances of objects in an environment.

In the late forties, visual researcher Adelbert Ames Jr. designed a series of visual illusions to demonstrate how the mind forms hypotheses about reality and depth. In one such illusion, Ames tested aspects of depth perception in a specially designed, distorted room.


Depth perception arises from a variety of depth cues. These are typically classified into binocular cues that require input from both eyes and monocular cues that require the input from just one eye.[1] Binocular cues include stereopsis, yielding depth from binocular vision through exploitation of parallax. Monocular cues include size: distant objects subtend smaller visual angles than near objects.[2] A third class of cues requires synthetic integration of binocular and monocular cues.

Anamorphosis is a distorted projection or perspective requiring the viewer to use special devices or occupy a specific vantage point to reconstitute the image. "Ana - morphosis" comes from the Greek words meaning "formed again."

There are two main types of anamorphosis: Perspective (oblique) and Mirror (catoptric). Examples of perspectival anamorphosis date to the early Renaissance (15th Century), whereas examples of mirror anamorphosis (or catoptric anamorphosis) occurred at the time of the baroque (17th century).





Andria Pozzo's painted ceiling in the Church of St. Ignazio


With mirror anamorphosis, a conical or cylindrical mirror is placed on the drawing or painting to transform a flat distorted image into a three dimensional picture that can be viewed from many angles. The deformed image is painted on a plane surface surrounding the mirror. By looking uniquely into the mirror, the image appears undeformed. Current in the 17th and 18th centuries, this process of anamorphosis made it possible to diffuse caricatures, erotic and scatologic scenes and scenes of sorcery for a confidential public.

Untitled from monika sutkute on Vimeo.

John Stezaker

_Francisco Infante-Arana & Nonna Gorunova

Untitled from monika sutkute on Vimeo.

Untitled from monika sutkute on Vimeo.

Untitled from monika sutkute on Vimeo.

_Experimentation with mirror