Dissertations and Theses @ UNI

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Open Access Thesis

Keywords

Academic Dissertation; Academic theses; Thèses et écrits académiques;

Abstract

The study of mirrored and reflective surfaces has been a fascination of mine for several years. It began with a curiosity in the reflected image from the traditional wall mirror and other mirrored and reflective surfaces. My earliest graduate research concentrated on the illustration of reflected images on a two-dimensional surface. As my work progressed, however, the discovery of new media such as mirrored plexiglass and reflective paints allowed me greater flexibility and introduced the possibility of distorting the perceived mirrored image. Experimentation with these materials indicated the possibility of using the entire surface as a reflective mirror, quite unrelated to work by other artists who had used mirrored materials merely as added decoration. My focus became, therefore, the application of reflective and mirrored materials as a primary concern related to the concept of illusion. To develop this illusionistic treatment, a progressive series of geometrically shaped design modes were incorporated into both two- and three-dimensional works. These module designs consisted of relatively simple linear patterns and forms conforming to a limited space, such as a square, a rectangle, or other regular geometric shape. Although the linear pattern on each module is identical it is also informal. As a result, when several modules are joined or aligned with others new patterns and connections occur. Only after careful scrutiny and as if by delayed reaction does the viewer realize the individual modules are indeed identical. Further, the viewer is invited to re-invent alignments as if playing with an enormous illusionistic puzzle. The capability of forming such expansive linear compositions by varied combinations thus expands their uniquely patterned formations. Each design module and three-dimensional construction conforms to a precise standard of rendering and craftsmanship, characterized by the mirrored and reflective materials and the play of light on the surface. The three-dimensional art works entitled Delusion One, Delusion Two, and Trapezoidal Delusion, (see Slides nos. 8 - 10) include wood, plastics, acrylic and/ or oil. These works have the flexibility of physically having their modular arrangements altered or manipulated to fit the physical surroundings or to please individual tastes. Within the three-dimensional projects the mirrored and reflective material has been used to distort what is perceived by the viewer. The bending and alteration of structural planes in this series of works create an illusion of what is being reflected, and also a very subtle blend of light and shadow on the structure and its surroundings. In the two-dimensional series of paintings entitled Module One, Module Two, and Cognition, (see Slides nos. 11 - 13), the illusion of the reflective surface is created by the use of metallic paint. Here the play of light on the painted reflective surface is of extreme importance. It is essential for the viewer to have the mobility to view each work from different angles and positions to appreciate the illusion created on the reflective surface. The technique and process applied in carrying out this illusion is simply based on the textural treatment of the pictorial surface. The painted surfaces in Module One, Module Two, and Cognition are based on the primed and unprimed surface of the stretched canvas. The primed surface achieves a highly reflective, smooth, and luminous brilliance, whereas the unprimed surface is distinguished by a dull, rough, and darker finish. This is primarily related to the texture in the nap of the woven canvas. By comparison, the series of drawings entitled Cognition, Star Module, Module II, Series One, and Series Two (see Slides nos. 1 - 7) incorporate metallic pencil for a similar reflective surface treatment. Here the paper's surface serves as the textured finish with a slightly more subtle treatment of the reflective image. In addition to these reflective qualities, emphasis is also placed on the manipulation of the design module creating imagery which has a floating and fluid character unlike the more static painted imagery. These drawings extend and complement the concepts introduced in the painted and sculptured series. In both the drawn or painted series the effect of light on the textured surface is essential. The juxtaposition of light, both real and illusory on the picture surface, creates a reversal effect in contrasts of light and dark. The exhibition of the studio-thesis, entitled The Illusion of Mirrored and Reflective Surfaces, was held in the Gallery of Art of the Communication Arts Center, University of Northern Iowa, from July 15 - August 2, 1980.

Year of Submission

1980

Degree Name

Master of Arts

Department

Department of Art

First Advisor

Shirley Haupt

Second Advisor

Jo Siddens

Third Advisor

Joseph M. Ruffo

Comments

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Date Original

1980

Object Description

1 PDF file (10 leaves)

Language

en

File Format

application/pdf

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