Separation of Layers

In my recent painting experiments, I have been investigating the separation of visual layers to enhance perceptual effects. Inspired by the material layering in my previous works, I sought to explore how physical space between layers influences the viewing experience. Using shadow box frames, I painted linear compositions directly onto the glass, then inserted a second layer of painted lines on a separate surface behind it, creating a subtle but dynamic spatial interplay.

For these initial tests, I simplified the compositions by using lines - one set featuring slightly angled lines and the other employing curved, wave-like forms. The goal was to examine how different angles and curvatures influence the perceived motion when the viewer moves around the work. Though each line is completely static, the physical separation of the layers produces an optical effect: as the viewer changes position, the lines appear to shift, interact, and even exhibit a sense of movement. With these tests I also subtly looked at simultaneous contrast. I found that having the pink in the forefront, the colours behind held their vibrancy, whereas having the blue in the forefront, the colours behind appeared to dull down.

This phenomenon is closely tied to embodied perception, a concept explored by Maurice Merleau-Ponty in his 'Phenomenology of Perception'. In the preface of this seminal work, Merleau-Ponty argues that perception is not a passive reception of visual stimuli but an active, embodied experience. He emphasizes that vision is tied to the body's movement and engagement with space - perception is not just about seeing but about how we exist in relation to what we see. My experiments align with this theory by demonstrating how the body's movement through space alters the way an artwork is perceived. The work does not change, yet our embodied engagement with it transforms our experience of it.

These preliminary tests reveal exciting possibilities for future applications. The optical interplay suggests potential expansions into larger-scale installations where the movement of the viewer becomes an even more integral part of the experience. Additionally, by refining the layering techniques and exploring more complex compositions, I could amplify these effects, making the illusion of movement even more pronounced. Further investigations will include experimenting with colour interactions, transparency, and varied depths between layers to push perceptual shifts further and see various potentials for future possibilities of usage.

Ultimately, this study reinforces the notion that perception is not fixed - it is fluid, evolving with movement and perspective. By engaging with these layered works, viewers do not merely observe: they participate in the unfolding of visual experience, embodying Merleau-Ponty's assertion that we see with our whole being, not just our eyes.