Privileged Viewpoints

Mireille introduced me to the work of a few artists relevant to our discussion in studio earlier today. Some very intriguing installations dealing with privileged viewpoint and/or calculated light sources. I'm intrigued by the use of this technique to test or perhaps enhance the sensitivity of the public's ability to pay attention (or to pay closer attention). I was struggling with the possible topics of discussion for such a technique...what might it ask? how does it communicate? who is it speaking to? or how can it grow?

Artist - Felice Varini
Artist - Georges Rousse
Artists - Tim Noble & Sue Webster

Detroit (along with the entire rest of the world I guess) has an issue when it comes to the vagrant, the homeless, the poor. In fact, the world has many issues pertaining to the mistreatment or misfortune of humanity itself. This world has problems...and naturally the human race itself is plagued by many. Some of humanity's issues are more prevalent in certain areas of the world compared to others...but all involve people...individuals who have names and faces...personalities and souls. However, as our lives become busier and more consumed by the world, those people that are in desparate need can easily become invisible. Passing by we may miss them completely, or perhaps catch only a glance. They are there but our eyes are closed to them.

In utilizing a privileged viewpoint technique along with stencil grafitti and applique techniques, I am pondering how to bring to the public's attention the issues (and individuals) that we can so easily forget. Can we introduce, for instance in Detroit, "the poor" into a passing moment and perhaps into the subliminal. The idea revolves around the notion of "opening your eyes." The pieces of the images are separated and askew until one passes into the priviledged view and the image slowly becomes comprehensible. The image of a human being, with a face, looking at the viewer.