Umożliwianie niemożliwemu. Garść wspomnień i refleksji

• Autorzy: Olek J.

Warianty tytułu

EN

Enabling the impossible

• Języki publikacji: PL

Abstrakty

PL

Od roku 1991 zajmuję się problemem bezwymiaru iluzji, który pochłania moją uwagę na kilku polach: artystycznym, poetyckim, teoretycznym, filozoficznym. W praktyce wizualnej posługuję się wieloma mediami, a w ich obrębie różnymi językami, choć przede wszystkim upodobałem sobie fotografię. Liczba rozwiązań i realizowanych prac stale rośnie - z początkiem 1999 r. przekroczyła liczbę 2000. Ciągle jednak czuję niedosyt; gdyż otwierają się przede mną wciąż nowe możliwości. Wygląda na to, że przed paroma laty rozpocząłem proces, który nie ma końca. Początkowo wychodziłem z założeń podstawowych. Przede wszystkim interesowało mnie zagadnienie odwzorowywania przestrzeni, ale także kreowania umownych zapisów przestrzeni nierzeczywistych, choć przecież możliwych; przestrzeni wyobrażonych. Pisałem o tym szerzej w szkicu Przywoływanie nieobecnego, pomieszczonym w katalogu Bezwymiaru iluzji z 1993 r.

EN

Since 1991 I have been concentrating on the problem of the dimensionlessness of illusion. I traced it in several fields: art, poetry, theory, philosophy. In my visual works I use various mediums, the primary being photography. At the beginning 1 was interested in the representation of space and the creation of conventional records of unreal but possible spaces. Then came many other problems, among others non-Euclidean geometry, the theory of relativity and its cosmological repercussions, the theory of black holes, poetic metaphors of personal spaces, layers of references and senses in James Joyce's and Teodor Parnicki's books, impossible figures, anaglyphs, etc. All of these, creating a fine net of references and interdependence are a background for art. Having chosen a cube and a square as symbols of space, I must consider the artistic and theoretic functionality of these basic figures. Art should meet the challenge of contemporary science and philosophy. In view of the achievements in these fields, it cannot remain too simple, too coarse. Technological tools enable us the creation of new virtual narratives with numerous threads, the radical conden-sation of form and the multiplication of dimensions. The flatness of photography enfeebles its spatial suggestive-ness. Scientists claim that the ability to see three dimensions is acquired. Since our contact with the environment is carried out through flat images, there is a real danger that we will see the world flatly. But perhaps, due to the natural tendency to see what we expect rather than what is really reflected on the retina, the more and more artificial environment will change our predispositions. Perhaps instead of handicapping our orientation in space, it will stimulate our spatial imagination. It is conceivable that the illuso-riness of space may open a multitude of imagined spaces. In the visual sphere, due to photography, our attitude towards the world has changed significantly. Images created by photography have been replacing natural ones. The world has become closer, but also flatter. An artificial and illusory third dimension is provided by holography, which has taught people to see things which do not exist in reality. We are good at reading images. No wonder that the perception of reality and the perception of its photographic representation are in many ways similar. After all, our way of seeing reality is already an image, and photography is merely its imitation. This is the process of translating an image into another image. Nowadays, owing to photography, cinema, television, e-mail and Internet, we perceive the world as an image created by other images. Each interpretation modifies experience, refuting the myth of the adequacy of direct perception. Sometimes even a simple, direct perception of three-dimensional objects is very ambiguous. ,1 noticed it many times during my work on "The Dimensionlessfless of Illusion". My model (a cube or a cuboid), shown in drawings, photos and computer prints in hundreds of versions and representations exhibits a spectrum of geometrically ambiguous shapes. Images, hundreds of images. All real, although none show the truth. They enable me to present things, which cannot be expressed verbally. The only discourse in my series is between a picture and an object in it; an object seen through its image. Art makes perception more intriguing, because it denies us the luxury of certainty. It transfers everyday reality into a doubt corroborated by images. Captivating us with the illusion of authenticity, it leads us through a maze of fictions and multiplied images reflected in one another. Undermining the laws of optics, it stimulates imagination. How we finally receive it, depends not on our eyes, but on our mind. Transforming the seen, we construct senses. It is the mind, which endows with meanings what the eye sees.

Słowa kluczowe

PL

przestrzeń; problem bezwymiaru iluzji; figury geometryczne

EN

dimensionlessness of illusion; space; geometric figures

• Wydawca: Oficyna Wydawnicza Politechniki Wrocławskiej
• Czasopismo: Architectus
• Rocznik: 2001
• Tom: Nr 1-2(9-10)
• Strony: 159--167
• Opis fizyczny: Bibliogr. 16 poz.

Twórcy

autor

Olek J.

• Redaktor artluku Centrum Sztuki Współczesnej "Znaki Czasu" w Toruniu ul. Wały gen. Sikorskiego 13 87-100 Toruń