PREVIOUS WORK

Canyon 18b - 9c - 1c (dye-infused aluminum print, 32" x 32")

Brain 8c – 2a (dye-infused aluminum print, 32” x 32”)

fading memories 3a (dye-infused aluminum print, 32” x 32”)

writing – can you read me? (dye-infused aluminum print, 32” x 32”)

art of memory (dye-infused aluminum print, 32” x 32”)

Brain 3 (dye-infused aluminum print, 32” x 32”)

canyon – the mechanics of understanding (digital print, 32" x 96")

Canyon long 13e - 8b - 4 (digital print 32" x 96")

Canyon 4g - 4d - 4e (dye-infused metal print,
30"x30")

three faces 2 (dye-infused aluminum print, 30” x 30”)

three faces 3 (dye-infused aluminum print, 30” x 30”)

three faces 4 (dye-infused aluminum print, 30” x 30”)

three faces 5 (dye-infused aluminum print, 30” x 30”)

Canyon long 13e - 1j - 1 (digital print 32" x 96")

laughing boy (digital print, 16" x 16")

self 1c - 3a - 4a (digital print 20" x 20")

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.