NEW PRINTS: HALFTONE DEATH/A CRACK IN EVERYTHING

death by halftone 1c (dye-infused aluminum print, 32” x 32”)

Jarrett – five years later (dye-infused aluminum print, 32” x 32”)

epileptic concept (dye-infused aluminum print, 32"x32")

death by halftone (dye-infused aluminum print, 32” x 32”)

little fish (dye-infused aluminum print, 32” x 32”)

string theory – memory (dye-infused aluminum print, 32” x 32”)

death by halftone 6c (dye-infused aluminum print, 32" x 32")

epileptic concept 2a (dye-infused aluminum print, 32" x 32")

death by halftone 4a – 10a (dye-infused aluminum print, 32" x 32")

penetration (dye-infused aluminum print, 32” x 32”)

Jarrett – five years 2a (dye-infused aluminum print, 32" x 32")

submerged (dye-infused aluminum print, 32” x 32”)

death by halftone 5d – 1b (dye-infused aluminum print, 32" x 32")

Picture1a – 4j (dye-infused aluminum print, 32" x 32")

under his breath (dye-infused aluminum print, 32” x 32”)

death by halftone 1e – 3 (dye-infused aluminum print, 32" x 32")

to the heavens (dye-infused aluminum print, 32” x 32”)

death by halftone 2c – 1f (dye-infused aluminum print, 32" x 32")

Diego lost 3 (dye-infused aluminum print, 32"x32")

Description

These images must be viewed with ChromaDepth glasses to achieve the full 3D effect. (contact me at stevemason@yc.edu. for glasses)

The demand for3-D film and television over the past ten years not only reflects their popularity but a basic need to experience more fully the ‘real world’ before us – walk around for a day with one eye covered and you will soon realize what the fuss is all about – now turn that experience into fine art to understand my purpose – it is the process of ‘seeing’, the brain function that allows for depth perception, that has been activated, the perception of space being vital to our vision and previous survival.

I want people to see something they never have before – my images cannot be read or interpreted but must be ‘seen’ – and in order to ‘see’ them, the brain must process them as it would a real apple on a table, an actual thief in a courtyard, or a physical pattern of leaf shadows upon the ground, not as it would perceive a painting.

The work is accomplished in the computer starting with scans of snap-shots, paintings, or drawings, then manipulated to develop imaginary spaces in 3-D – ChromaDepth glasses are used both in the making and viewing of the work (glasses supplied with prints or on demand from the artist).

What does one see, how is this accomplished, can this process be consciously experienced and seen without extensive neurological study and used to change the way wee ‘see’? – the deconstruction of the visual experience has been going on for centuries – into the twentieth century, armed with Freud and Darwin, the Germans and Austrians tried candid description of deep emotion with an emphasis on the medium – later the Americans continued by focusing on the ‘process’ – the colorists made us work with our eyes, followed by the conceptualists and video artists who tried to put us back into our heads using thought instead of sight – perhaps it’s time to combine our discoveries with our new found knowledge of the workings of the brain, determine where we come from in sight and thought, and see it for what it is – take us outside our prejudices, distortions, and expectations, and beyond tribal thinking, barbaric obsession, and voodoo – maybe we can then evolve, in our selfish Darwinian way, into beings who can see what’s right in front of them – and not just what we want to see.