davyvon's photostream

Hitherto Unknown Dimension © David G. Wilson

The perception of a woman sitting cross legged in a pensive mood is but an illusion of a dimension beyond the third. In an effort to transcend the third dimension in my art, a locus that human eye have not been conditioned to easily behold, I have taken the liberty to stretch the potential of perspective to create an image that lies somewhere within our three dimensional terrestrial space, mutually inclusive with the empirical reality of the objects that I actually painted. She is no less realistic than the chairs and table, vase and flowers that constitute her being. She exists within our terrestrial space, but in a dimension in which few human eyes are wont to recognize her existence. She exists among us, yet we seldom see her; quite invisible to our unsuspecting eyes. We are sometimes aware of an uncanny presence, but seldom take the time of behold her or relocate, readjust and plausibly juxtapose the objects that would make her presence visible as this picture reveals. A strategic and plausible juxtaposition of commonplace objects will reveal their anthropomorphic characteristics, hitherto unseen as is evidenced here.

© David G. Wilson

The strategic and plausible juxtaposition of commonplace objects may reveal unusual alternative realities within the same three dimensional terrestrial space where these objects are seen. These commonplace objects are chosen for their recognizeable anthropomorphic characteristics. When juxtaposed plausibly and strategically, they reveal an incidental image of a woman reading a book which absurdly materialized behind her back. Present amid the same three dimensional space occupied by the still-life objects, placed at obvious distance. The illusionary distance involves the fourth dimensional element of time and the warping of space which explains the irrational placement of the book (the airconditioning unit) behind the back of the illusionary reader. The objective here is to attempt to represent a dimension, in space, beyond the third dimension.

© David G. Wilson

The identity of this woman is still unknown or at least unrevealed.
She is the African mother of Alessandro de' Medici, sired by Cardinal Giulio d' Medici, later to be Pope Clement VII. Alessandro was introduced to the public as his nephew, but with solid backing by the future Pope, he became Duke of Florence (1523-1537). Pope Clement VII (Giulio d' Medici) and this unknown African woman were therefore the parents of this mulatto youth, whom Western European history treats as a tyrant for obvious demonizing reasons. Giulio d' Medici apparently fulfilled his paternal duties, but never publicly acknowledged it.

© David G. Wilson

The strategic and plausible juxtaposition of commonplace objects may reveal unusual alternative realities within the same three dimensional terrestrial space where these objects are seen. These commonplace objects are chosen for their recognized anthropomorphic characteristics. When juxtaposed plausibly and strategically, they reveal an incidental image of a woman standing in an extended space made plausible by the manipulation, on a two dimensional surface, by aerial perspective . Present amid the same three dimensional space occupied by these elements, is the image of a woman holding a plate on which is placed a solitary cherry. She is Eve, presenting the forbidden fruit to Adam. The illusionary distance involves the fourth dimensional element of time and the warping of space which explains the irrational placement of her head at such great distance from her legs, yet beguiling the viewer into the belief of apparent terrestrial reality. The objective here, again, is to attempt to represent a dimension, in space, beyond the third dimension.

© David G. Wilson

The viewer of this image finds himself located in an interior looking outward through a doorway. Intercepting his line of sight, is a table with a vase with a solitary tulip. Beyond this, his view is unimpeded through to the street. He becomes a witness to the activity in the street, which involves a dog walking past a lampost, while a woman walks in the opposite direction. There are two cars whose bodies are incidentally truncated by the doors flung open.
In this banal scene, I seek to show the diminishing effect of aerial perspective on object projected into the distance. However, due to the nature of the two dimensional surface on which this illusionary image is painted, an alternative illusion becomes visible, revealing the potential for an alternative reality, that materializes as a woman.
The juxtaposition of the objects in this picture is strategic and plausible for the simple reason of representing a reality in space and yet create an alternative reality within that same three dimensional space.