.style6 { color: #999999; font-weight: bold; } .style7 {color: #999999} --> #photoholder { width:900px; height:652px; border:1px solid #666; } #thephoto { width:900px; height:652px; }
A scanned section of the original Drawing 'Cedar Fishing'

Artwork In Development Phase 8

Artwork: Chariot Racing Drawing titled - 'Race of Souls'

Dimension: 19" x 39"

Click on the scrolling images below to view sections of Phase 8, please be patient whilst the images load....


The development of phase 8 with the red areas showing the reworking of the first chariot horse as it relates to the foreground.

Phase 8 – Engineering Depth Perspective & Energy Generation

When asking myself questions about the chariots accuracy in the beginning, I found myself reworking the first chariot wheel once I had made certain discoveries about how the foreground must 'work' to provide the second part of the illusion of movement and increased depth perspective.

The reworking of the original surface of the chariot seems glaringly obvious now to me and it seems to become more 'alive' as it is reworked. Accepting the wall of further work that confronts me at this point is a fundamental part of dynamic realism, as going through this wall produces the dynamic. This wall generates fear and pushes me to the extremes of my skill and comprehension, it is also high risk as the work is more likely to fail.

It is a wall where things get tricky and concentration is tested to the full. I find myself juggling areas in the depth of field, exploring the push and pull of the areas already created between illusions forming, formed and predicting the effect of those areas yet to be formed to determine the path of execution to follow.

I have learnt to trust the relationships between elements and what they teach me to begin to pull the illusion of the whole together. Then my eyes are wide open; areas that looked fine before now look incomplete and they have to be reworked to bring them into alignment. The result is I push the media and my renewed comprehension harder and the energy within the work starts to happen. This is when I am consciously sharp of the elements and their interaction with each other. It is as if I can 'see' far more and I analyse and pull apart or build upon what was there before and it seems to breathe life into the work.

At this phase it is not about looking for a representation of a surface, it is focussed on how the surface and its interaction with a subject 'works'. I look for the function of the component parts as this reveals where the energy that resonates with a viewer comes from, this is the most important aspect for me to understand.

Follow Us On Facebook Follow Us On Twitter
Read Our Blog Subscribe to our YouTube Channel For the latest short films