The Role of Virtual Space in Compositon

Session 3: steps from closed to open space concepts:

3.1 General:

This topic is usually referred to as "from closed to open form". A degree of confusion arises because the word "form" in one instance refers to the entire painting and in another use it refers to the three dimensional rendering of object and , in another instance refers to the spatial aspect of a painting.

It reminds me of a story by Thoreau in which he describes an Indian tribe as having only one word for "day". In referring to yesterday the speaker would point backwards and say their word for day. In referring to tomorrow the speaker would point in front of himself and say their word for day. In referring to today the speaker would point to the sky above and say their word for day.

It is very easy to imagine that our own language evolved from such a process and that in the instance of the word "form" it was never really modified to enhance clarity in the written word.

Modern language allows us more descriptive metaphors to describe this concept so I will begin with referring to it as "closed and open space". More clarity will be obtained by using the word virtual space.

3.2 Pictorial Space:

Up to now we have been studying planes in terms of their foreground size, their middle-ground size and the background size. For example: rocks in the foreground, trees in the middle-ground and , mountains in the back-ground.

Normally we create the illusion of the middle-ground plane being a little further in to the picture recession space than the foreground plane and closer than the background plane.

Up to now we have not considered the space above and between the foreground plane and the middle-ground plane. The entire picture plane creates a three dimensional virtual space that extends in all directions - like looking through a window. We place on the picture plane foreground, middle-ground and back-ground objects that appear to exist in this virtual space.

In the real outside world these objects are surrounded by air. In our picture the virtual space that has not been occupied with virtual objects is in essence virtual air.

The amount of virtual air remaining in a painting after its completion is referred to as being either open or closed or limited virtual space. This is what is referred to by many writers as open and closed form.

The same concept applies in architecture but it is much less confusing because the architect is dealing with real air not virtual air.

The main idea to keep in mind is that you are not focusing your attention on the objects in the painting but on the space around the objects. It may be easier for you to experience this sensation if you do not use your two eyes to focus on single object but try to set your eyes parallel trying see the entire pictorial field. The procedure is very much like setting your eyes parallel to see three dimensional images called "Sterograms".

I have included a sterogram (Exercise 3.3) below which with practice will allow you to sense the virtual space in a painting. Follow the instructions and with some practice you will see a three dimensional illusion of the dots suspended in space above the paper.

The Renaissance painters Michelangelo etc used a form of closed or limited virtual space. Most of the impressionists experimented with virtual open space.

If you get a chance go to our Canadian National Gallery and on the second floor in the impressionist section, stand in front of Claude Monets, Jean-Pierre Hoschede and Michel Monet an the banks of the Epte - Oil 76 x 96.5 cm. 1890.

Stand facing center of the painting and with eyes focused parallel step back until the virtual space experience of the painting begins to impact your vision.

Even though this painting can be analyzed as having limited recessional depth caused by a wall of trees it has a much wider sense of virtual space. Most impressionist paintings cannot really be appreciated for their accomplishment unless you look at the virtual space.

There are some Cezannes in the same section. Follow the same procedure of looking at them using parallel eye position and evaluate the virtual space impact on your perceptual system. Cezannes paintings in general are spatially limited in terms of the virtual space experience. He is grouped with the impressionists but he is not interested in virtual space. He is more interested in creating object form which makes use of limited virtual space than virtual space itself.

Note: I have included a graphic in the web version of these notes: see below.

I have included a sterogram below which may help develop your virtual space experience.

3.3 Stereoscopic Viewing Exercise

The sterogram below (3.3 Appendix 1) is composed of two separate squares - not too far apart - and each square showing a small dot at its top and above its center.

One method used to experience virtual space is to focus on the empty space between the two small dots above the squares and try to move your eyes as though your were trying to see out of the outside corner of each eye - the reverse of the cross eyed look.

You will feel your eye muscles pulling a little but eventually you should see three dots and three squares. Try to focus your mind on the center imaginary dot keeping it appearing as a clear middle dot between the other two and keep it from drifting away. Once it has stopped moving you will begin to see dots of the imaginary square. (just below the small imaginary center dot), appear to float in space above the paper. Eventually and with some practice your eye muscles will hold their position while you focus your eyes into the virtual space of floating dots.

3.4 Looking at Virtual Space in Paintings

We will have some class exercises in looking at virtual space in paintings through the use of prints of paintings. We will use a neutral grey portable matte to surround the print in order to assist our virtual space evaluation. We will also use calendar prints of paintings as they are approximately all the same size which accommodates our standard sized matte.

Note: In the web version of these notes I have included some graphics of paintings for a stereoscopic viewing exercise.

3.5 Homework Assignment

Look stereoscopically at your own drawings and paintings in terms of their virtual space. Try to determine if for example the foreground, middle-ground, back-ground planes are positioned in space correctly or are parts of them moving into another plane and destroying the structure.

Look stereoscopically at the prints in your class reference book "Thoughts on the North" by Bruno Cote and, keep practicing your compositional analysis and sketching.