Untitled (Semantic Bounds Violation), 2022
Unity engine, laser-cut plywood/acrylic, LCD screen, modeling paste, acrylic paint, transparent silicon sealant, computer
This work attempts to examine the problem of semantic interpretation of different artworks by various audiences through self-reference and composition utilizing intercultural features in perception based on the latest research in neuroaesthetics. Construction of a “path” through order, contrast and causality as well as avoiding any dependency on symbols. Main objects are distinguished from others by placement, size, different material (very material impasto technique with layers of paint sticking out of the board x immaterial digital visualization) and by being interacted with. Meaning can emerge both from a singular object on its own and objects together as a specific group. Ever-changing reflections on the bottle as relatively infinite contexts within, which to interpret the object that remains identical. Depicted are actions of the “observer” reaching in (to the “painting”) and searching for all conceivable relations linked to interpretations from their current accessible memory = magnifying glass. Selecting from the scope of the possible meanings = pointing to a fixed projection on the vase. Taking out and interpreting something outside of its assigned context = scissors. These all could in a way be considered symbols, but I would argue that all of the above is just an outcome of their primary use. The “name” semantic bounds violation would refer to the case when not all variables surrounding the artwork are considered and chosen interpretation is outside of the scope/bounds of all the logically sound.