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Abstract
The Enigma of Appearances is an examination into the medium of three-dimensional photography, with particular focus on the technique of stereoscopy. Invented in the mid-Victorian era, stereoscopy was an attempt to simulate natural three-dimensional perception via a combination of optics, neurology, and a pair of dissimilar images. Whilst successful in producing a powerful illusion of spatial depth and tangibility, the illusion produced by stereoscopy is anything but ‘natural’, when compared to three-dimensional perception observed with the naked eye. Rather, stereoscopic photography creates a strange and unnatural interpretation of three-dimensional reality, devoid of atmosphere, movement and sound, where figures appear frozen in mid-motion, like waxwork models, or embalmed creatures in a museum. However, it is precisely stereoscopic photography’s unique and enigmatic interpretation of three-dimensional reality, which gives it its strength, separating it from being a mere ‘realistic’ recording of the natural world.
This thesis examines the unique cultural position that stereoscopy has occupied since its invention in 1838, from its early role as a tool for the study of binocular vision, to its phenomenal popularity as a form of mass entertainment in the second half of the 19th century, to its emergence in contemporary fine art practice in the late 20th and 21stt centuries. Additionally, The Enigma of Appearances gives a detailed analysis of the theory of spatial depth perception; it discusses the dichotomy between naturalia versus artificialia in relation to stereoscopic vision; and finally, traces the development of experimental studio practice and research into stereoscopic photography, undertaken for this MFA between 2005 and 2007.
The resulting work, Camera Mortuaria (Italian for ‘Mortuary Room’), is a powerful and innovative series of anaglyptic portraits, based upon an experimental stereoscopic technique that enables the production of extreme close-up three-dimensional photography. Applying this technique to the reproduction of the human face in three-dimensional form, Camera Mortuaria presents a series of ‘photo sculptures’, which hover between reality and illusion, pushing the boundaries of stills photography to the limit, and beyond.