| Stretch #1 | |
|---|---|
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| Material | Silicone, pigment, hair, fabric, aluminum |
| Size | 275 × 54 × 25 cm |
| Created | 2003 |
| Present location | Art Gallery of Ontario |
| Identification | 2008/124 |
Stretch #1 is a sculpture by Evan Penny in the collection of the Art Gallery of Ontario located in Toronto, Ontario, Canada.
Stretch #1 (2003) is a silicone sculpture and a component of the Stretch and Anamorph series by the Canadian artist Evan Penny. This series explores the manipulation of images of the human body that has been made possible with editing programs such as Photoshop. Penny’s large-scale, distorted, silicone sculptures show what these two-dimensional image renderings would look like in three-dimensional form. The tension between the photographic-realism of two-dimensional visual media and three-dimensional sculpture has been the theme for most of Penny’s career. [1] : 9
“I try to situate my sculpture somewhere between the way we perceive each other in real time and space and the way we perceive ourselves and each other in an image.” – Evan Penny [1] : 75
With the word "stretch", Penny is referring to the editing effect of the same name in Photoshop. "Anamorph" is an optics term that refers to the illusion created when a distorted image appears as if it is in normal perspective when viewed from a particular angle. Instead of working from a normal image, skewing it in Photoshop, and then rendering it in clay, as one might expect, Penny creates his three-dimensional sculptures from a skewed sketch of an imaginary character which he then moulds into clay. Penny describes the process in the following geometric terms. If you stretch out a cube by each of the eight corners in completely different directions and angles until there are no right angles or parallel lines left, what you have is a three-dimensional rhomboid. When viewed at a certain angle it may appear to be a normal cube, but physically it remains distorted. [1] : 20 When photographed Penny’s sculptures can be compressed in Photoshop to create a very realistic two-dimensional image of a naturally proportioned person, but everything around them will be distorted. [1] : 75
Penny claims to begin each sculpture with a question to himself, “What would happen if I take a distortion of the human body that is ‘normalized’ in an image context, that we might assume belongs exclusively to the image world, and bring that into the space we physically occupy?” [1] : 90 The result are sculptures that are fascinating in their attention to details, and horrific in their flattened, unnatural forms. They are at once “wholly unbelievable and undeniable.” [1] : 20
This work was gifted to the AGO in 2008 by David and Kristin Ferguson.
The Penrose triangle, also known as the Penrose tribar, the impossible tribar, or the impossible triangle, is a triangular impossible object, an optical illusion consisting of an object which can be depicted in a perspective drawing. It cannot exist as a solid object in ordinary three-dimensional Euclidean space, although its surface can be embedded isometrically in five-dimensional Euclidean space. It was first created by the Swedish artist Oscar Reutersvärd in 1934. Independently from Reutersvärd, the triangle was devised and popularized in the 1950s by psychiatrist Lionel Penrose and his son, the mathematician and Nobel Prize laureate Roger Penrose, who described it as "impossibility in its purest form". It is featured prominently in the works of artist M. C. Escher, whose earlier depictions of impossible objects partly inspired it.
A mirror image is a reflected duplication of an object that appears almost identical, but is reversed in the direction perpendicular to the mirror surface. As an optical effect, it results from specular reflection off from surfaces of lustrous materials, especially a mirror or water. It is also a concept in geometry and can be used as a conceptualization process for 3D structures.
In photography and cinematography, a normal lens is a lens that reproduces a field of view that appears "natural" to a human observer. In contrast, depth compression and expansion with shorter or longer focal lengths introduces noticeable, and sometimes disturbing, distortion.
HSL and HSV are the two most common cylindrical-coordinate representations of points in an RGB color model. The two representations rearrange the geometry of RGB in an attempt to be more intuitive and perceptually relevant than the cartesian (cube) representation. Developed in the 1970s for computer graphics applications, HSL and HSV are used today in color pickers, in image editing software, and less commonly in image analysis and computer vision.
In four-dimensional geometry, the 24-cell is the convex regular 4-polytope (four-dimensional analogue of a Platonic solid) with Schläfli symbol {3,4,3}. It is also called C24, or the icositetrachoron, octaplex (short for "octahedral complex"), icosatetrahedroid, octacube, hyper-diamond or polyoctahedron, being constructed of octahedral cells.
Depth perception is the ability to perceive distance to objects in the world using the visual system and visual perception. It is a major factor in perceiving the world in three dimensions. Depth perception happens primarily due to stereopsis and accommodation of the eye.
2.5D perspective refers to gameplay or movement in a video game or virtual reality environment that is restricted to a two-dimensional (2D) plane with little or no access to a third dimension in a space that otherwise appears to be three-dimensional and is often simulated and rendered in a 3D digital environment.
The computer graphics pipeline, also known as the rendering pipeline, or graphics pipeline, is a framework within computer graphics that outlines the necessary procedures for transforming a three-dimensional (3D) scene into a two-dimensional (2D) representation on a screen. Once a 3D model is generated, the graphics pipeline converts the model into a visually perceivable format on the computer display. Due to the dependence on specific software, hardware configurations, and desired display attributes, a universally applicable graphics pipeline does not exist. Nevertheless, graphics application programming interfaces (APIs), such as Direct3D, OpenGL and Vulkan were developed to standardize common procedures and oversee the graphics pipeline of a given hardware accelerator. These APIs provide an abstraction layer over the underlying hardware, relieving programmers from the need to write code explicitly targeting various graphics hardware accelerators like AMD, Intel, Nvidia, and others.
In computer graphics, reflection mapping or environment mapping is an efficient image-based lighting technique for approximating the appearance of a reflective surface by means of a precomputed texture. The texture is used to store the image of the distant environment surrounding the rendered object.
In geometric optics, distortion is a deviation from rectilinear projection; a projection in which straight lines in a scene remain straight in an image. It is a form of optical aberration.
Anamorphosis is a distorted projection that requires the viewer to occupy a specific vantage point, use special devices, or both to view a recognizable image. It is used in painting, photography, sculpture and installation, toys, and film special effects. The word is derived from the Greek prefix ana-, meaning "back" or "again", and the word morphe, meaning "shape" or "form". Extreme anamorphosis has been used by artists to disguise caricatures, erotic and scatological scenes, and other furtive images from a casual spectator, while revealing an undistorted image to the knowledgeable viewer.
Elements of art are stylistic features that are included within an art piece to help the artist communicate. The seven most common elements include line, shape, texture, form, space, color and value, with the additions of mark making, and materiality. When analyzing these intentionally utilized elements, the viewer is guided towards a deeper understanding of the work.
Perspective control is a procedure for composing or editing photographs to better conform with the commonly accepted distortions in constructed perspective. The control would:
The Octacube is a large, stainless steel sculpture displayed in the mathematics department of Pennsylvania State University in State College, PA. The sculpture represents a mathematical object called the 24-cell or "octacube". Because a real 24-cell is four-dimensional, the artwork is actually a projection into the three-dimensional world.
In geometry, a Petrie polygon for a regular polytope of n dimensions is a skew polygon in which every n – 1 consecutive sides belongs to one of the facets. The Petrie polygon of a regular polygon is the regular polygon itself; that of a regular polyhedron is a skew polygon such that every two consecutive sides belongs to one of the faces. Petrie polygons are named for mathematician John Flinders Petrie.
Evan Penny, currently lives and works in Toronto, Ontario, Canada. In 1978, Penny graduated from the Alberta College of Art and Design in 1975.
Stereoscopic depth rendition specifies how the depth of a three-dimensional object is encoded in a stereoscopic reconstruction. It needs attention to ensure a realistic depiction of the three-dimensionality of viewed scenes and is a specific instance of the more general task of 3D rendering of objects in two-dimensional displays.
In 3D computer graphics, 3D modeling is the process of developing a mathematical coordinate-based representation of a surface of an object in three dimensions via specialized software by manipulating edges, vertices, and polygons in a simulated 3D space.
In geometry, an infinite skew polygon or skew apeirogon is an infinite 2-polytope with vertices that are not all colinear. Infinite zig-zag skew polygons are 2-dimensional infinite skew polygons with vertices alternating between two parallel lines. Infinite helical polygons are 3-dimensional infinite skew polygons with vertices on the surface of a cylinder.
An accidental viewpoint is a singular position from which an image can be perceived, creating either an ambiguous image or an illusion. The image perceived at this angle is viewpoint-specific, meaning it cannot be perceived at any other position, known as generic or non-accidental viewpoints. These view-specific angles are involved in object recognition. In its uses in art and other visual illusions, the accidental viewpoint creates the perception of depth often on a two-dimensional surface with the assistance of monocular cues.