I am interviewing artists for PBS Art:21 who are merging 2D, 3D, and 4D art forms to create work both in material and virtual 3D space. For example take 21 years old SL artist, Feathers Boa who created Surrealism Girl for the Through the Virtual Looking Glass art exhibition.
To create this Feathers Boa used multiple layers, incl. spinning gears.
While viewing Surrealism Girl I turned the camera to see a side-view and there are several layers comprising the composition: picture frame, face/mask, gears, body, and the background. The picture frame acts as container for the portrait. It brings to my mind Anne Friedberg’s The Virtual Window.
In De pictura (1435), Leon Battista Alberti famously instructed painters to consider the frame of the painting as an open window. Taking Alberti’s metaphor as her starting point, Friedberg tracks shifts in the perspectival paradigm as she gives us histories of the architectural window, developments in glass and transparency, and the emerging apparatuses of photography, cinema, television, and digital imaging. Single-point perspective—Alberti’s metaphorical window—has long been challenged by modern painting, modern architecture, and moving-image technologies. And yet, notes Friedberg, for most of the twentieth century the dominant form of the moving image was a single image in a single frame. The fractured modernism exemplified by cubist painting, for example, remained largely confined to experimental, avant-garde work. On the computer screen, however, where multiple “windows” coexist and overlap, perspective may have met its end.
Approaching the work you can see the layers and clicking the face unmasks the girl, revealing the moving gears.
Clicking to remove the face/mask reveals her inner workings. Inside she is all moving gears. There is a static body layer with three spinning gear prims (objects) in front. Here we see Anne Friedberg’s proposed new logic of visuality, framed and virtual: an architecture not only of space but of time.