I’ve been thinking about it a lot, but not in the capacity gained through time and space—more a literal approach to the exploration.
This isn’t a dear diary, self-help post, after all.
This is art, dammit.
The idea of perspective has interested me for a fairly long while.
It’s been a consideration in both my visual art and my novel, Fondly.
I originally began writing Fondly in third-person, with a non-linear timeline. It became hard to follow and even more difficult to write.
It became hard to believe in.
So, after a lot of consideration I went back through what I had written, kept the timeline but switched to a first-person narrative. This is all fine and good, and the voice works well, even in a jumbled time frame.
Now I sit at another crossroads, as I consider the notion of putting both narratives in, but all from one singular voice. This is a design to better push the slow mental breaks within the main character, and I think it could create a very interesting way to tell a story.
My concern is the readability of it. The flow.
Though framed as small vignettes that elude to other periods of time and the propulsion of a plot, I don’t want to lose the reader by switching too much.
If I do it correctly, there are a lot of ways I could take this style of narrative to push the story arc, and add to the symbolism and complexity underneath.
I’m also working on a fairly large-scale piece for an upcoming gallery show at the end of the summer. I don’t usually have enough time to put a decent amount of thought into submitted work, or to actually work on it. There are enough deadlines in my life, both at work and at play.
This time, I have time.
I have time to really think deeply about what I want to say, and just as important in the visual arts, how I want to say it.
Writing is an entirely different kind of execution with far more immediate results.
Write it down.
Rinse and repeat.
It’s not quite the same thought process, or energy extolled as creating something visual.
Honestly, I love them both, and perhaps it’s the variety in my process that keeps me spinning in so many different directions most of the time.
This time around, I actually have time to think about the piece. Really think about it, from multiple directions.
Tonight, I’ve been working on the approach and execution, not the imagery itself.
I had a thought. Okay, it’s more a stolen idea.
I stole it from myself, so I can sleep at night…or at least stay up with a clear conscience.
A few years back, or maybe just one, it’s hard to keep track, I conceived a campaign direction for a re-brand for a client that was having some mild identity issues.
Most people hadn’t heard of them, and those that had, hated them.
Once we convinced the client to make some large adjustments to some underlying problems, it was our challenge to get people to give them another try.
Of the ideas, I was most excited by one of mine called “Shift Your Perspective.”
It was designed to utilize a variety of media executions, all revolving around a “different perspective” illustrated through various optical illusions, negative space, building installments, anamorphous perspective and many, many other executions. I was inspired by all the great street art, which I often think is more appealing than just about any billboard I’ve ever seen…
This would not only help reinforce a change in the client and the consumer’s current opinion but would be an engaging, impactful approach, grabbing the consumer’s attention, forcing them to pause and spend more time with every billboard, print ad, television commercial, guerilla/environmental installation, etc.
If you can’t change someone’s mind, shift their perspective and let them change it on their own.
This could have been the type of campaign that would have made me known throughout my industry, if executed correctly, or…you know, if executed at all.
I spent a lot of time researching some interesting eye-benders and how they worked, and feared I would never get to use all this new information.
We presented a variety of directions. They went with the safe option. They always do. All of them. The client literally told me it was too intelligent of an approach for their demographic. I tried to explain that I was trying to get them a better demographic.
Short story long, I’m taking one of the outdoor print executions and using it for good, rather than the cruel mistress that is the fickle client.
I know what I want the basic idea of the image to be, and a fair idea of how to create it. The message is there and it’s just ambiguous enough to make you draw your own conclusions. I even have the general idea of how it should work, in theory.
It’s the construction and ultimate final execution that must be figured out first.
Now I must rely on science or something.
My plan is to create a large-scale lenticular, to hopefully tell a full story, but only once you’ve seen it from both angles.
So I made a miniature mock-up. I’ve been known to do that from time to time.
I didn’t spend a lot of time on the images themselves, I just threw something together through the miracle of selfies and photoshop for example’s sake.
I started with two images.
Then I cut them up and rearranged them.
After that, I printed it out and corrugated it.
Here’s a shaky, lo-fi example of my shaky, lo-fi mock-up…just imagine this being about 5-10 feet wide or so…for starters.
The real question is, where can I push it from here?
In both cases, I’m utilizing the literal idea of perspective to push the more metaphysical meaning of the word out to the viewing audience, but without screaming it at the top of my lungs. Nobody wants to be told what to do.
If they’re not careful, they just might accidentally get a fresh perspective from my work.