»CROSS AND PLANE TO SPACE« 
Light Box
Light Box
© Myriam Thyes; anaglyphe still
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Information
Myriam Thyes >
»CROSS AND PLANE TO SPACE«, 2017
Co-Workers & Funding:
music: Eva-Maria Houbenhttp://www.thyes.com/relations-polarities/cross-plane-space/index.html
Technology
Installation Requirements / Space
stereoscopic 3D animation, HD video art installation
Descriptions & Essays
Myriam Thyes 30-11-2017
CROSS AND PLANE TO SPACE
2017, stereoscopic 3D animation, HD video, 8:05, loop, color, stereo. For projection at the ceiling.
The title refers to Kandinsky's book "Point and Line to Plane" - here to the historic antipodes illusionism and constructivist art. In this video, the illusionistic ceiling fresco ‚Triumph of St. Ignatius of Loyola' (1685) by Andrea Pozzo meets compositions with (broken) crosses (1932) by Sophie Taeuber-Arp. While the hierarchic, centralist painting in the Jesuit church Sant'Ignazio glorifies the holy lord, Taeuber-Arp created multifocal, plane compositions of non-figurative shapes. The only thing the baroque and the modern artworks have in common, is the sign of the cross. In the animation, the oppositional artistic concepts start a competitive dialog, they influence and penetrate each other. Given the current victory of virtual worlds, this animation reflects the history of illusionism and its assumed overcoming in modernity.
Myriam Thyes: CROSS AND PLANE TO SPACE, 30-11-2017, in: Archive of Digital Art CROSS AND PLANE TO SPACE
2017, stereoscopic 3D animation, HD video, 8:05, loop, color, stereo. For projection at the ceiling.
The title refers to Kandinsky's book "Point and Line to Plane" - here to the historic antipodes illusionism and constructivist art. In this video, the illusionistic ceiling fresco ‚Triumph of St. Ignatius of Loyola' (1685) by Andrea Pozzo meets compositions with (broken) crosses (1932) by Sophie Taeuber-Arp. While the hierarchic, centralist painting in the Jesuit church Sant'Ignazio glorifies the holy lord, Taeuber-Arp created multifocal, plane compositions of non-figurative shapes. The only thing the baroque and the modern artworks have in common, is the sign of the cross. In the animation, the oppositional artistic concepts start a competitive dialog, they influence and penetrate each other. Given the current victory of virtual worlds, this animation reflects the history of illusionism and its assumed overcoming in modernity.
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