Having wanted to add another dimension to my art, I looked into carving into form boards and painting the negative space. However this created a number of issues as the board wasn’t absorbent enough to use as a canvas and the uneven texture of the carved board was lost when it was covered in a material that could be used as a canvas, even with these issues solved the negative space was still too dark to properly portray the detail of the painting without installing some form of lighting.
From this failed experiment I began looking for another mean of representing a 3D object, that would still give the viewer a sense of curiosity. Which lead to the exploration of layered glass and artwork like, Nobuhiro Nakanishi’s ‘Layered Drawings’.
Nakanishi uses a laser print to mount his photos onto plexiglass acrylic. Creating a sense of fluidity that I work like to create in my own work.
“The theme of my work is: the physical that permeates into the art piece,” he says. “In a foggy landscape, we no longer see what we are usually able to see – the distance to the traffic light, the silhouette of the trees, the slope of the ground. Silhouettes, distance and horizontal sense all become vague. When we perceive this vagueness, the water inside the retina and skin dissolve outwardly toward the infinite space of the body surface. The landscape continues to flow, withholding us from grasping anything solid. By capturing spatial change and the infinite flow of time, I strive to produce art that creates movement between the artwork itself and the viewer’s experience of the artwork.”