A little perspective here

A few years ago I noticed a picture across a contemporary art gallery on Melrose Avenue in Los Angeles and was drawn to it.

At first glance it resembled Hokusai's "Great Wave off Kanagawa," but when I got close I saw the sea-foam bunnies and laughed. This scary mountain of water was transformed into "Uprisings," a witty and wonderful digital work by the two artists known as Kozyndan. (this work is copyrighted, see www.kozyndan.com for more info)

I had to own it, and now the framed print hangs on my living room wall where visitors are drawn to it and either giggle like me or gasp and say something about poor bunnies.

Both the artwork and the reactions relate to our personal perspectives.

I have mentioned in previous posts that I adore and need the sea but also fear it. So for me, I think this work turns fear to whimsy and fun. But other people may be disturbed to think the bunnies are being pummeled.

My last post about signs, portents and mysteries elicited a number of interesting comments, including this from Lisa Dez: Perception is truth.

Lisa got me thinking about the link between perspective and perception, something that is integral to human beings and necessary to artists and writers. Perspective certainly is truth at a given moment in each person's eyes. But it can be different in another's eyes or altered by circumstances.

Dictionary descriptions also show shifts in defining perspective: To look through. To see clearly. Relating to. Capacity to view things in relative importance. Sense of proportion, of depth. View of relative distance and position. Overview. Vista. Outlook. Prospect. Viewpoint.

This leads me to ponder that an author's viewpoint will always come through but he/she must be sure that each character has a unique perspective and perception of the world, as well.

Here is a painting that alters perception. When I first saw this work, "Petra," by Katrin Wiese, I was reminded of the portraits by Renaissance painters--not because of her style which is expressionistic and contemporary--but the setting of a girl in front of a landscape is much like those of Bellini or Botticelli or even DaVinci. Remember "Mona Lisa?" She is posed, hands in front of her, landscape behind.

But like "Uprisings," my perspective and perception was jogged by what was in the landscape.

It's dystopic, apocalyptic. This young girl isn't in front of her family home or bucolic meadow. Her backdrop is chaos and destruction, but she has a serenity about her.

Some of you may wonder why I purchased a painting of such dark undertones. Because, once again, I find it thought-provoking and witty--a comment on our times.

This painting also has an entirely different perspective built into it. Wiese continued the artwork on the sides of its wood construction.

So if you view it from an angle, you get this added perspective.

And I can add one more variable: how we illuminate or choose to highlight things. I shot the two photos of this painting on different days in ambient light. One created sepia tones and the other is more brilliant as the original work is.

I have carried on here about our perceptions (which I think is awareness and comprehension based on experience including perspective). Don't know if I've made sense to you but it was interesting to me to explore this a bit.

Addendum: I realize another element that plays with perspective/perception in these artworks is that things are not as we expect them to be; there is surprise, shock. Good to remember as writers, as well.