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Veijo,
That is a very beautiful image. It looks like it would be a space
that would be very pleasant to sit and contemplate in. The artworks
featured in it are very interesting. I recognize a lot of your props
from other scenes. Maybe you could try varying their color or texture
to make them look new. Is the view outside the window a sky, a sea, or
is it incomplete?
------------------------------
Ben Scheele
Silmarillion: Ben's World
http://www21.brinkster.com/silmarillion/
"Veijo Vilva" <vei### [at] animal helsinkifi> wrote in message
news:40ecd036@news.povray.org...
> The architecture is slowly taking shape. I'm trying to resist the
> temptation to add things and details just for the sake of adding them.
> The picture probably isn't finished yet, but I'll be away for the next
> two weeks so I'm posting this version now. Any comments?
>
> Veijo
>
> PS. there is a 1920x1440 copy of the picture at
>
> http://galeria.galactinus.org/vilva/chess_files/contempl2_1920.jpg
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Veijo Vilva wrote:
The composition of this one is very exciting. The row of gold boxes
outlining the windows and pictures especially. There is a great deal of
energy created as a viewer's mind fights between the perfectly
symmetrical 2D shape and textures of the windows and surrounding walls
and the contrasting asymmetrical, virtual, 3D shapes of the spaces on
either side of the windows.
This illusion is present on the top as well. The diagonal lines of the
dropped ceiling show clearly that the picture is centered, but the
varying volumes of the dropped ceilings attempt to deceive.
For me, the whole thing falls apart below the floor line. The strong
horizontal, vertical, and diagonal lines disappear, leaving the floor
looking empty, and the electric, illusory surrealism of the composition
and your familiar yet alien musical instruments is IMO stomped to
death by the more mundane surrealism of the floating game board.
HOW DID THE SHOW TURN OUT!?? You mentioned that it was coming up at
p.o-t, but I never saw any report of how your images were received by
the public.
-Shay
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Shay wrote:
> Veijo Vilva wrote:
>
> The composition of this one is very exciting. The row of gold boxes
> outlining the windows and pictures especially. There is a great deal of
> energy created as a viewer's mind fights between the perfectly
> symmetrical 2D shape and textures of the windows and surrounding walls
> and the contrasting asymmetrical, virtual, 3D shapes of the spaces on
> either side of the windows.
>
> This illusion is present on the top as well. The diagonal lines of the
> dropped ceiling show clearly that the picture is centered, but the
> varying volumes of the dropped ceilings attempt to deceive.
>
> For me, the whole thing falls apart below the floor line. The strong
> horizontal, vertical, and diagonal lines disappear, leaving the floor
> looking empty, and the electric, illusory surrealism of the composition
> and your familiar yet alien musical instruments is IMO stomped to death
> by the more mundane surrealism of the floating game board.
>
> HOW DID THE SHOW TURN OUT!?? You mentioned that it was coming up at
> p.o-t, but I never saw any report of how your images were received by
> the public.
>
> -Shay
Shay, you've inspired me to try a little harder and give Veijo some
responses myself. Even though I grow a weary of the presumptuous stuff
that comes from my "mouth", Veijo's work deserves some effort be made.
I am not writing specifically to agree or disagree with anything you've
said. I enjoyed your analysis and you have put words to some similar
thoughts on my part.
Salient elements of the composition are, the Bosch "Wayfarer" in command
top and center, and the hovering chess board of the foreground. Both
have obvious connections with the title. The Bosch signals across a
range of frequencies centering on its allegory. In fact it announces
the very use of allegory. It represents art tradition in its
universality and esoterica. It represents the persistence of ideas, and
the ability to isolate, rarefy and reintroduce them just as, aged and
mellow, it is introduced into a contrasting setting. A modern setting,
but filtered and cerebral.
This sense of filtering infuses the picture in all its aspects and is
the way that Veijo brings the particulars of raytracing to produce a
potent, personal vision. Raytracing is a synthetic means that produces
strikingly naturalistic effects. This mix can be go beyond being a
compelling means to create "worlds." It can establish its very own
reality. A reality in which a floating object may not signal much
mystery at all.
Light is filtered, content is filtered, in a sparse world, carefully
constructed, and minutely adjusted. Veijo contends that he is
constructing, not picturing. I don't think it is quite that easy. It
is a world populated with finely constructed objects, but it is a
setting comprised of pictorial solutions. Backgrounds in this
synthesized world are a vexing problem. An expansive world of infinite
density cannot be constructed.
But it can be alluded to, possibly, on a chessboard. The pieces are
complex and inscrutible, suggesting unfathomable regressions of scale,
iconography, and cultural effeteness. Their arrangement is difficult
to make out,...recorded arcanum from the history of the game.
Veijo's raytracings suggest to me something of Kubrick's controlled use
of artifice. It is unafraid of the pithy, the pretentious, and the
personal. It is crafted to produce a synthesized reality immaculate in
its illogic. It's a fertile vein to mine.
Veijo embraces the spirit of Surrealism, but in this picture, it appears
though the familiar filter of scifi. The setting is not quite
otherworldly, but not quite of this time and place either. There is the
same easy juxtapositioning of familiar and novel relics to gain effect.
There is the reliance on futuristic explanations for tropes such as
the floating chess board or the room above the clouds. And I say, "Why
the hell not?"
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