"Whilst part of what we perceive comes through our senses from the object before us, another part (and it may be the larger part) always comes out of our own mind."
– William James
– William James
Sensation vs Perception
wood shelf and hidden door built into modeling stand
live performance piece1997 - 1998
Sensation vs Perception
wood shelf and hidden door built into modeling stand
live performance piece1997 - 1998
Sensation vs Perception
wood shelf and hidden door built into modeling stand
live performance piece1997 - 1998
Sensation vs Perception
wood shelf and hidden door built into modeling stand
live performance piece1997 - 1998
Sensation vs Perception
wood shelf and hidden door built into modeling stand
live performance piece1997 - 1998
In the midst of a "life drawing" class, students encircle a modeling stage with vine charcoals in hand, intent to study and to practice capturing the human form on paper. The drill is the same, start with quick one minute poses and gradually work up to 15-20 minute long sessions. So many eyes focus on the forms of the models, the hard and soft light casting shadows that wrap the bodies folds and curves giving them shape. Relearning what the eye sees and relaying this info to the hand to convey through mark making this likeness on paper.
For their part, the models get a break to stretch and move their limbs every 20 minutes after holding a stationary pose. When break is called they don slippers, drape themselves in their robes and jet outside for a quick smoke or walk around the class viewing the student works.
In this piece, I was the unseen model. Hidden from sight and curled upon a shelf that I had clandestinely built beneath the modeling stage. Waiting for the instructor to announce that the models could take a 15 minute break and then exit through the hidden door I had also built into the side of the stage. Curious to know with so much concentrated and intense study by a room full of artisans whether my presence at center stage, although “unseen” would still be captured or perceived by the gathered class.
When the break was called, I exited the hidden door to many gasps and a few laughs of disbelief. I enrobed and went along with the other models outside to enjoy a short smoke break. At the end of the 15 minute break, I undressed and returned to my hidden perch underneath the stage. Now that I was known to be under the stage, although still not visible, did I still have a presence and if so did it have any impact or change upon the new works on paper?
For their part, the models get a break to stretch and move their limbs every 20 minutes after holding a stationary pose. When break is called they don slippers, drape themselves in their robes and jet outside for a quick smoke or walk around the class viewing the student works.
In this piece, I was the unseen model. Hidden from sight and curled upon a shelf that I had clandestinely built beneath the modeling stage. Waiting for the instructor to announce that the models could take a 15 minute break and then exit through the hidden door I had also built into the side of the stage. Curious to know with so much concentrated and intense study by a room full of artisans whether my presence at center stage, although “unseen” would still be captured or perceived by the gathered class.
When the break was called, I exited the hidden door to many gasps and a few laughs of disbelief. I enrobed and went along with the other models outside to enjoy a short smoke break. At the end of the 15 minute break, I undressed and returned to my hidden perch underneath the stage. Now that I was known to be under the stage, although still not visible, did I still have a presence and if so did it have any impact or change upon the new works on paper?
