Photography has a problem. Despite its lifelike representation of a subject, it can only ever depict something in two dimensions. When it comes to the photographic documentation of sculpture the limitations of photography’s one-eyed perspective and flatness seem poignant. However, regardless of being obviously dissimilar, photography has something in common with sculpture.
Traditionally, both sculpture and photography are products of a long chain of translation involving (model) positives and (mold) negatives. This chain extends to the viewing process, where eye mechanics and perceptual bias come into play as mostly unnoticed, but not altogether neutral translational tools.
Taking on photography and sculpture as subjects, this research proposes a continuous process of translation involving two and three dimensions as a strategy towards gaining awareness of perceptual bias, preferential ambivalence, uncertainties and subjective reality-building.
To set the process in motion, Marianne Vierø will study photographic documentation of sculpture to reimagine and (mis)interpret the full dimensionality of the sculptures based on their flattened-down representation. In parallel, she will experiment with stereoscopic techniques, which stimulate the brain of the viewer into experiencing 2D-images as three dimensional. Partly reinstating a selection of these, she will develop new formats of translation that will materialize as tangible and intangible objects and image-based works.
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