Julian Beever ~ chalk drawings

[mtmynd]

for more...

http://users.skynet.be/J.Beever/index.html

[mnaz]

wow...

is it really possible, the sidewalk diggings?

thanks cecil... and unbelievable...

[Dave The Dov]

Now this is definitely Trompe L'oile!!!!
_________________
ways to save money

[jimboloco]

ya tooks th woids outa me mouth!
Trompe L'chalke!
supoib!!

[stilltrucking]

It boggles my eyes.

From Cecil's link:

Anamorphic illusions drawn in a special distortion in order to create an impression of 3 dimensions when seen from one particular viewpoint.

I wonder if they are permanent. I mean what happens when it rains.

[e_dog]

thats incredible. hows he do it.

it'd be better if they could show it from non effective angles so we have an idea of the contrastive effect you'd see if you were walking by.

that shit would friggin blow your mind if you came across it on the sidewalk and didn't know 'boutit!


With a name like Beaver, it has to be good!

[jimboloco]

leave it to th Beav

yes these snaps are indeed effective at a maximal optimal viewpoint
i'd like to analyze the perspective employed into these dwawingz
and see how it is embedded, intertwined, indeed, twisted,
into the overlapping environ,
hmmm
to the dwawing boid.

the third one is obviously the one most distorted into a false illusionary perspective, the illusion of shadow compliments the drawing construct of the planes of the sides and floor,
enhanced by the crowd spread conveniently around it, and the placement of other natural objects like the bucket and the box on the "edge" along with other little painted illusionary objects, like the tripod, true to perspective illusion, and the clipboard and little spade, call it what it is,
the "front" edge of the pool would seem flat if you were among th throng encircling the "excavation," great theatre, really,

mercy.
numero dose,
the pipeline actually works with the natural perspective lines already established by the sidewalk and the curbz, altho the fountain is indeed fitted to be seen at a particular viewpoint,mercy, it's the most challenging aspect,
how far back did he actually draw out the fountain, man, like all the way back to the back edge of the sidewalk, way back to the flowerbed!, , the fountain was stretched abnormally so don't move, and the placement of his hand with drink in celebration placed to enhance the illusion, seen from our flat angle,
right on, and well, if a fountain was right there, it would be blocking the view of the sidewalk up to the flower garden,
so what's the pwoblem wif dat, and also notice the shadows drawn in "front of' and "below" the edges of the "broken" sidewalk and cast shadows onto the (remember they are not real) pipes, mercy again, am apparantly working in reverse direction,

and the cokecola, man,
here with much softer natural perspective lines,
very interesting "background" for the pastel triumph, trioumpe, tromp'l'pastel,
and an aerial perspective enhancement is instead employed,
again structured by placing the soft reflective hue of cokecola cast shadow onto an already bright promenade, in "front" of the (remember it's not real) cokecola bottle which is made all the more real by the enhanced brilliance of the lights and the usage of a full range of values in a firmly constructed base drawing,
if you look at the space between the neck of the bottle and where the shadow begins,
realise that the ground or the natural sidewalk comes through.
very masturfully planned as to effect the illusion from that particular viewpoint,
and the sidewalk as a medium,
really,
because of the natural and unique difference in perspective, seen from above, lends itself to this kind of stage design,
really, for street theatre. so enhanced with the people or himself posing as poser of questions,
makes folks wonder
makes 'em a bit more wavier,
ya can't go home again,
onward, thru th fawg, ha!

yes, wonderfully and mysteriously constructed,
he's gotta employ some intuition into his drawing conceptualizatins
because, whilst the perspective is rational enough once seen and scrutinized,
how does he make it work?

I think I'm gonna try.
not very hard, mind you,
first gotta go and till the sand in my front yard,
then start getting ready for hurricaine season,
but great mural spaces on my house!
i gotta go do some yard work, mercy,

[mtmynd]

on his site (included in orig post) there's a particular pic that shows the remarkable skill in creating these -

http://users.skynet.be/J.Beever/wrongview.htm

aptly named 'wrong view' this shows a reverse angle on one of these chalk drawings.

btw: has anyone caught one of Beaver's works on a current tv commercial..? don't know what was being sold but it's one of his depth (underground)-type works with the real him standing on a ladder as is to go down into another level. cool.

[jimboloco]

ya i saw it, it's him on a ladder on the side of a building, a brick wall, painting with a street secne below him, an ad for a car, man,
the car is down below on the street,
just a flash
i gotta get some yard work done!

[jimboloco]

some yard work done
the ilusion's complete
chalk it up to luck

[stilltrucking]

Hans Holbein’s portrait of Jean de Dinteville and Georges de Selves, prominent figures at the court of Henry VIII, is among the most famous modern examples of anamorphic painting technique.

anamorphic painting technique

Lacan's favorite example for the Gaze is Hans Holbein's The Ambassadors (pictured here). When you look at the painting, it at first gives you a sense that you are in control of your look; however, you then notice a blot at the bottom of the canvas, which you can only make out if you look at the painting from the side at an angle, from which point you begin to see that the blot is, in fact, a skull staring back at you. By having the object of our eye's look look back at us, we are reminded of our own lack, of the fact that the symbolic order is separated only by a fragile border from the materiality of the Real. The symbols of power and desire in Holbein's painting (wealth, art, science, ambition) are thus completely undercut. As Lacan puts it, the magical floating object "reflects our own nothingness, in the figure of the death's head" (Lacan, Four Fundamental 92).



on the gaze

[jimboloco]

As I stated in the previous module, "at the heart of desire is a misregognition of fullness where there is really nothing but a screen for our own narcissistic projections. It is that lack at the heart of desire that ensures we continue to desire." However, because the objet petit a (the object of our desire) is ultimately nothing but a screen for our own narcissistic projections, to come too close to it threatens to give us the experience precisely of the Lacanian Gaze, the realization that behind our desire is nothing but our lack: the materiality of the Real staring back at us. That lack at the heart of desire at once allows desire to persist and threatens continually to run us aground upon the underlying rock of the Real.

Geez, I wonder if Hans was thinking about this, and wonder what the elitist patrons thought about his skewered skull and crossbones embedded at their feet.

Maybe they knew this all along, all of them, and accepted it as vanity with dust at the endm but being in the present moment, they were awake.

Geez, looks like I've dug myself into an illusiory hole.