I dream about art

Ehrlich I really do. It has been almost two weeks since I overloaded my senses with what was probably more than ten thousand different art projects. Many of those visuals still haunt me and yet last evening, my dreams were filled with yet even more creations that I do not believe I have ever seen in real life. What is slightly annoying is that the dream involved the interaction with an artist (a young, handsome man) who was creating a sculptural painting of some sort that could only be viewed from one particular perspective. The image of the creation in my dream has stuck with me all day long and has made me wonder about perspective art.

At Art Basel, another perspective artist which I was drawn to was a miniature diorama entitled Niigata’s House, Tokamachi, Japan by Leandro Erlich. In the convention center exhibit, a video was playing simultaneously, showing the life-size depiction of the house. Similar to his Bâtiment, 2004. In both, the perspective of reality is challenged in that the side of a building is constructed and then reflected from an angle so that when people walk, lie, or roll themselves along the horizontal image, a vertical reflection suggests to the viewer that those walking or lying on the building are doing so against gravity. It is a fanciful change of perspective, reminiscent of Fred Astaire, dancing on the walls and ceiling in Royal Wedding.

Is there a correlation between my dream and Erlich’s piece? Probably not, except for one small thing that struck me during the afternoon. At least thirty years ago, I recall visiting the Museum of Contemporary Art in La Jolla, California. I had been raised at "fine art" museums like Bowers or what is now the Getty Villa. Back then,  museum visits were to be exposed to the greats; Monet, Van Gogh, and the like. My visit to the La Jolla museum was astonishing as I had never seen an entire building devoted to purely modern art. Now, all these years later, I do not know the name of the artist, but the image is still burned in my memory; a cluster of three pumpkins sitting on the floor on which each were painted a third of an image.  It was only when one stood at one specific, particular spot could the image be seen as a whole. It was that matter of perspective which struck me so.

Now, I realize it is a crossroads where I find myself — looking at art as a new perspective in my life and the irony that art which involves perspective is that which intrigues me. And so I move forward…

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