THE ANASCULPTURE alias BLACK-HOLE ART

 

THE "3 ½ D's" PAINTING CANON

At the end of the 90'es L.C.L. was painting his Opp.36,39 and 43 – the “3 ½ D's” Canon paintings.

The objective of this canon consisted in enhancing the plastic perception of a figurative representation in two dimensions by virtually spreading a multitude of dark circles on the surface of the object to be represented, paying attention that these circles won't be in contact (so that it is always possible to go from/to any two points of the “uncircled” surface staying on it). Then a conventional representation is performed: the dark circles  become generally ellipses, whose eccentricity and direction of main axes are an evident indication of the spacial orientation of the surface on which they were originally traced: a rational perception of the third dimension results.

This mode is employed alongside the classical “chiaro-scuro” mode which is retained for the residual (what is left out of our dark dots), and which conveys the conventional visual perception.

 

Our objective is achieved through the merging of visual and rational perceptions.

                             A "3 ½ D's" painting and ........... the Anasculpture resulting from it

 

 
 
 
 
 

 

FROM PAINTING TO ANASCULPTURE, alias BLACK HOLE ART.

 

A "3 ½ D's" painting – normally made on canvas - is transferred on a rigid support, eventually a metal plate. Its dark dots are then cut out, becoming physical lacunae (holes). The shaded painting of the "un-dotted" surface is preserved. We now deal with a shaped flat and rigid painted surface pervaded by lacunae: our active plate.

The Black Hole concept is achieved by placing our active plate over a light absorbing background at a certain distance from it. This distance makes for the depth of our black holes. We introduce the neologism "B(l)ackground", to indicate our black background, having also the task of supporting active plates by mean of spacer sticks having one end welded on the active plate and the other bolted to the b(l)akground.

The enhancing of the contrast between active plate and lacunae resulting by this procedure improves the perceptibility of the lacunae pattern and facilitates the rational connection with their tale teller origin.

 

Depending upon the complexity of the surface where it is traced, a pseudo-ellipse (and the lacuna referred to it) can assume an unexpected shape which conveys the information required for the 3 D's understanding - our rational perception - of the particular dealt with.

 

 

 

This mode was given the neologism “Anasculpture” as ”ana” is the prefix meaning: default, missing, objection of. Indeed the active element of anasculpture – the active plate – is both flat and inconsistent at a large extent, due to the lacunae pervading it.  Nevertheless anasculpture features a remarkable sculptural effect, achieving bi-dimensional plastic rendering at its utmost: flat and inconsistent, yet almost-a-sculpture.

 

The complementary denomination “Black Hole Art” gives priority to the lacunae and may be referred to as equivalent of anasculpture. It attributes a creative task to the Black Hole, otherwise an enigmatic and alarming cosmic entity engulfing irreversibly whatever is trapped into it.

 

 

THE PHYSICAL BLACK

One of the “existential” reasons of anasculpture consists in contesting the employment of the black “color”.

By definition the black is not a color; it is an “uncolor”, as for color of an object we intend the reflected visible radiation from it when it is struck by a light beam. The conventional black colors approach the zero-reflection condition, by reflecting a very small quantity of light, yet this is not absolute black.

 

Any color presumes the physical existence of the colored object/surface.

The “uncolor” black does not: the only way of representing authentic black is to eliminate the reflecting object/surface wherever we want black and to replace it by a lacuna, alias: a black hole.

A REMARKABLE ALTERNATIVE TO OUR B(L)ACKGROUND IS THE NIGHT SKY

A painted active plate is placed towards the night sky without b(l)ackground and illuminated by a beam of light...
The light going through the lacunae is lost in space without affecting the sight of the sky which is seen behind the active plate. The starred sky adds an absolute dimension to our staging.

PAINTING MODES OF ANASCULPTURE

An ansculpture features two distinct artistic elements: the residual plate and the painting on it.

 

The residual plate may be referred to as a rational 3 D's perception tool, a shape, as far as its artistic content is dealt with.

 

The painting of the active plate must refer to the three dimensional rendering of the anasculpted object.Here there are the relevant modes (which happen to be substantially those employed in painting):

 

Monochrome mode. The closest sculptural rendering (cfr.: the “bronzei”, the “cariatides angels” and the “ignudi” of the Michelangelo Sistina vault).; it employs a neutral dark color such as raw/burnt umber and white, and their mixes which are applied in a gradually changing mode from the darkest to the brightest areas. The  position of the virtual source of light may change; for dramatically different results. Especially suited to stern people....  

     
  Two colors pseudo-monochrome mode. The same approach of the monochrome, yet the couple of colors employed (dark for the shadows, bright for the lights) is freely chosen, which confers particular effects to the rendering.
     
Divisionist/pointillist mode. Application of various colors to obtain the desired “nuancé”.This mode permits a “vibrato” without limitations and is intended to satisfy the expectations of the most sensitive and romantic souls...   
     
    Graphic Rendering. By connecting the centers of neighbouring pseudo-ellipses with segments, a network of mixed lines irregular exagones results, each one of them showing three times the following sides sequence: arc of pseudo ellipse/segment of centers connection line.

A system of surface pervading lines may now be traced, based upon the a/m network, as shown in the scketch.
The relationship between the line width and the interspace between two adjacent lines can vary, establishing the degree of darkness of the exagone dealt with, which is employed for creating the shading required for the three dimensions rendering.
 
 
 
 
 

 
 

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