Over the past six years my work has explored the disparity between the panoramic,
seemingly monocular image we have of our environment and the fragmented bits
of information derived from memory, the multitude of ocular leaps, and other
sources that actually comprise the visual perception process. My interests in
the corrective, computational, and compensatory functions that make vision possible
have become the primary areas of my artistic exploration. My work with haploscopic
devices interrupts that panoramic image by providing a different image for each
eye. This interruption presents the viewer with the following options, the last
of which is central to my work:
• Allow the dominant eye to determine the image perceived
• Shift back and forth between the two images presented
• Combine them into a new, ephemeral image
I’m fascinated by what compels our attention amid competing visual stimuli,
whether it’s a photographic image, text, 3-D object, mirrored image, simple
color field, or hard-edged geometric pattern. I combine various examples of
these while I consider the following questions.
• How do monocular images merge in binocular vision?
• How do we construct panoramic visual images from small areas of focus?
• What is the nature of binocular rivalry and how does it influence what we see and how we perceive the relative placement of objects in space?
• How motion-dependent is visual attention?
• How do we maintain continuity of image when our eyes, head and/or body are usually in motion?
• What are the philosophical implications of these considerations?