The Thought Process - Added September 15, 2010
Recollection of seeing the distorted scull in other unrelated work certainly drew my initial attention and curiosity, but was not the sole reason why I chose to pursue anamorphosis and projections. As I explored the topic, I came more and more to realization that projections play a silent yet integral part in our perception, relating the phenomenon to the way objects are reflected on the surface of the water on a tranquil day, the shadows projected by buildings as the sun sets, and how these shadows distort when they are cast on non-linear surfaces. Regardless of their magnitude, projections take place autonomously and contribute to the synergy and awareness of the 'real' (Descartes would probably argue here).
This was clearly not the case with works of Lazzarini, Wenner, Dali and Holbein. The modality and the varying degree to which anamorphosis was presented was unconventional at the very least. Lazzarini, for example, chose a very realistic silhouette-like projection. All its contours were perceived as anatomically correct. Yet it was not perceived as real because the setting in which the work was presented lacked references that would support the projection.
Wenner's presentation was very different. He created a very complex scheme with finite detail, and if one were to omit everything outside of it, the work would most certainly go right pass the radar. It's macro-assessment says otherwise, however, and just like Lazzarini's Skulls, reveals a conflict of perception. It is depicted on a flat surface that is meant to be walked on, and despite its realistic internal climate, triggers a massive visual turmoil.
Holbein's Ambassadors is different altogether. The anamorphic projection of the skull is a literal distraction and perhaps explains why I immediately recalled seeing it several years back - it's just not something one could easily forget. The intrinsic difference between Ambassadors and earlier cited works lies in the fact that the painting must be viewed in stages. If the viewer approaches the painting in side motion, the skull registers with the visual cortex while it is still in the peripheral vision. It is also the only object in the painting that is seen at that time. Once the movement stops, the rest of the painting becomes apparent and the skull temporarily vanishes from the register - an instant change of scenery.
Dali's Persistence of Memory may initially be perceived as unrelated to any of the three works described so far, but such conclusion would not be accurate. Anamorphosis is synonymous with distortion, but unlike previously observed spatial distortions of tangible objects, Dali distorts the only dimensional medium that lacks substance - the time itself.
 | |||
| Skulls (Robert Lazzarini, 2000) |
 | ||||||||
| Dies Irae (Kurt Wenner, 1995?) |
 |
| Persistence of Memory (Salvador Dali, 1929) |
 |
| The Ambassadors (Hans Holbein the Younger, 1533) |
