Version 2 2025-11-05, 03:44
Version 1 2025-11-04, 22:29
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posted on 2025-11-05, 03:44 authored by Eleanor SuessEleanor SuessBright Green City<p></p>
History
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Notes
This work was subsequently included in: Suess’s solo exhibition Projective Artefacts at Five Walls Gallery, Melbourne, November-December 2023, and in the Form | Shadow | Space: Analogical Perceptual Artefacts, joint exhibition by Eleanor Suess and Maycon Sedrez, at the Waterfront Gallery, Deakin University, Geelong Waterfront Campus, 26 February - 17 May 2024.Extent
Original cyanotype photogram on 270gsm Clairefontaine Maya coloured paper, 50x70cmStart date
2021-11-23End date
2022-01-22Research statement
Background Projection lines for drawing are often likened to lines of light, especially when relating the eyes’ reception of supposedly perspectival imagery to perspectival projection onto a picture plane though techniques such as Alberti’s veil, or Leonardo’s glass (Haralambidou, 2007). Similarly, Raphael’s conception of orthographic projection, resulting from an increasingly (and ultimately infinitely) distanced viewpoint “are most readily understood to be representations of light paths” (Evans, 1995). Sciagraphy and oblique parallel projection share the same underlying geometrical rules, the latter being “like an orthographic shadow” (Meyer and Meyer, 1855–1863). Contribution This work is part of Suess’s ongoing “Shadowgraphs” project which engages with the architectural drawing conventions of sciagraphy and axonometry, using sunlight as an active agent in the production of cyanotype photograms and artists’ films. Suess’s experimental practices with the cyanotype photogram technique bring together the projection of light, and the projection within architectural representation. This work challenges the paradoxical, artificial, and constructed nature of the axonometric drawing, revealing that whenever the sun’s parallel rays cast shadows of a three dimensional object, they draw axonometric Significance This transdisciplinary work utilises Suess’s grounding in fine art and architecture, bringing these fields together to form hybrid artefacts. The work exposes the underlying nature of oblique parallel projection, expressing its latent history as originating in the shadows already present in the world.Event
(In)Visible ProcessesPublisher
Lethaby Gallery, Central Saint Martins, Granary Square, LondonUsage metrics
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