Reflected Dimensions: Windows of Main Street
Lien Phuong, Spring 2012
I was inspired to create a blended work of shapes and lines by actively choosing how I photographed the formality and composition. The formal elements interact with each other, allowing the eye to actively move across the image. I angled the composition to create parallel lines and repetition between the reflected shapes and buildings. The buildings in the background use the idea of a window within a window. These formalities, including a low-key tonal range
and soft focus, unify my series.
Increasing my awareness of the picture plane allows me to manipulate how the viewer sees the images. The audience wants to make sense of what they are looking at, stimulating a deeper mental spatial activity that causes them to question this ambiguity. Although the images are flattened, the overlapping of the objects create a sense of real space. This draws
the viewer into the picture as if he or she has to crawl through the layers to get to the object inside the room, entering a mentally constructed reality even though all the objects are presently real. The concept not only captures a reflection of two worlds but also a third image that stands in between.
The genre of my medium-based concept falls under fine art photography, which explores the aesthetic expression of my series. My artist’s intent is the same as the outcome intent. I intended for the audience to view my work as fine art that is pleasing to look at; the outcome intent is ultimately experiential for the viewer to have an aesthetic and abstracted experience
of my form-based subject. I expect a closed outcome intent because the audience should be able to conclude why I took the image, how I photographed it, and what the subject is. There was minimal post-production to enhance the series, with the exception of two images where I used layers to create space and changed the opacity of the objects.
Lien Phuong, Spring 2012
I was inspired to create a blended work of shapes and lines by actively choosing how I photographed the formality and composition. The formal elements interact with each other, allowing the eye to actively move across the image. I angled the composition to create parallel lines and repetition between the reflected shapes and buildings. The buildings in the background use the idea of a window within a window. These formalities, including a low-key tonal range
and soft focus, unify my series.
Increasing my awareness of the picture plane allows me to manipulate how the viewer sees the images. The audience wants to make sense of what they are looking at, stimulating a deeper mental spatial activity that causes them to question this ambiguity. Although the images are flattened, the overlapping of the objects create a sense of real space. This draws
the viewer into the picture as if he or she has to crawl through the layers to get to the object inside the room, entering a mentally constructed reality even though all the objects are presently real. The concept not only captures a reflection of two worlds but also a third image that stands in between.
The genre of my medium-based concept falls under fine art photography, which explores the aesthetic expression of my series. My artist’s intent is the same as the outcome intent. I intended for the audience to view my work as fine art that is pleasing to look at; the outcome intent is ultimately experiential for the viewer to have an aesthetic and abstracted experience
of my form-based subject. I expect a closed outcome intent because the audience should be able to conclude why I took the image, how I photographed it, and what the subject is. There was minimal post-production to enhance the series, with the exception of two images where I used layers to create space and changed the opacity of the objects.
© 2013 Lien Phuong