MB raised a good point in a recent comment about the summary quality of line and its tantalizing relationship to photo images. In Scott McCloud's wonderful book Understanding Comics, there's quite a bit of drill-down into the perceptual roots that underly our ability to see the whole from the essential detail.
Whether the thing shared is encoded in the most minimal yet evocative line or a data-rich full rendering, I'm seeking (and of course I'm not always up to the task of) salience, radiance and understanding.
Looking at this little sketch the morning after made me think about the implied objects all around us -- the internal maps we have of the details of highway as we drive, the corner-of-our eye perceptions that our minds parse or discard.
What do you think about this?
What are the implied objects in (and of) your own creative work?
Some lagniappe: when I searched Google using the terms "'internal maps' perception art," here's what I found -- and liked.
4 comments:
So often beginning art students have a hard time drawing what they see because of the implied versus the real. They have to be taught to rename the objects of their internal dialogue.
I thought Allison's paintings on the link were fairly fabulous. And , would it be fair to equate what you are talking about in art with what I might call sub-text in the written word, lori?
In poems and photos, I search for essence, luminescence and connection. Metaphor. Meaning implied by deeper and overlapping or juxtaposed images. Flux and flow in perspectives and meaning, as it were. Digging down to universal essences.
the unconscience gatherings that are made clear by writing or photographing.
the way light and shadow inter play.
the mixture of age on beauty, on life...the cracks that allow me a deeper view.
flea markets.
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