Playground, 3-D lenticular

What is the relationship between objects in a landscape? How does an artist describe the space that lies between two planes? Cézanne explored this relationship and since then the pictorial plane has been condensed, flattened, projected in real time and all but rendered invisible. I work with lenticulars: a medium that consists of a digital image laminated to a ribbed lens. On seeing the image through the lens, viewers perceive a combination of planes at once so that the final picture literally recedes and projects from the surface. Not only is there a sensation of three-dimensional reality but there is also an interaction of color, texture and form in space.

Building Destruction, lenticular

In addition to the lenticulars in 3-D, I have also been making a series of flip lenticulars. Flip lenticulars change as the viewer walks by. These works are explorations of alternating colors which have developed from my years of work in visual illusion. Inspiration comes from days on the beach, the Pacific Ocean and the play of light on the surface of objects. They range in size from 20” in width to 40” in width.
More images along these lines can be seen from my website below.

All of my lenticulars are made by hand. I have worked with this medium for over four years. I have worked in 90lpi to 10 lpi lens material. Although this material is often used for signage or commercial needs, my interest lies in fine art and in extending the
visual effects of the medium.

In these particular lenticulars I am interested in analyzing the intimate relationship of color forms as they exist in various landscapes. Working from my sketches and photographs of Los Angeles, I combine and select forms, placing them in planes of varying depth. The layered images are then interlaced and printed. The print is then laminated to the back of the lens. When the print is viewed through the lens, a 3-D illusion is created. I am interested in developing both an understanding of how form exists in nature and how we may perceive form in an imagined landscape.
Many years ago I watched a painter construct a mountainous landscape using as a picture source a newspaper clipping of a girl in a telephone booth. He said he could see the valley and the light on the mountains looking at this old black and white newsprint image of a figure in the city. The revelation of seeing a landscape created from a completely unrelated image source has stayed with me as an example of universal form.

Sunhat and Circe, flip lenticulars