In this work, I return to the problem of three-dimensional space in photography and seek to bring composition back to the flatness of the arrangement of colors and forms.
To create the illusion of a three-dimensional pictorial space was the goal of painting, from the renascence to the beginning of modern art. The touchstone of this approach is Leon Alberti's Della Pittura, from 1435, in which he describes the pictorial plane as a transparent window. It is the creation of the illusion of a three-dimensional space, occupied by physical objects, that the theory of perspective, developed in part by Alberti, aimed.
From this reflection comes a metaphor: the picture as a stage, within which the depicted scene is constructed.
With this metaphor in mind, when looking at some negatives, I had the impression that the edges of the negative worked like curtains, which limited the "stage" of the photograph. On this stage, the "theater of photography" would give us the illusion of a three-dimensional space.
It is this illusion that I try to problematize in the essay, when I try to reconduct vision to the planar arrangement of colors and shapes. In this way I seek the point of intersection between what in Zenon Pylyshyn's theory of vision describes as early vision and late vision. In the early vision (occurring up to 120 milliseconds after the visual stimulus) there is edge segmentation and organization in groups, such as surfaces that overlaps, seen in relation to the observer. It is only in the late vision (between 150 and 600 milliseconds) that occurs the application of concepts of physical objects, independent of the observer, conceived as situated in an objective three-dimensional space.
In other words, it is the midpoint between the materiality of the three-dimensional space of the late vision and the geometry of the surfaces that make up early vision that I seek in this work - conceiving photography as the "theater of vision."