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.
