Bright loose images for the Monumental Art series

written for the stereosite by D. Carlton Bright, USA

Despite the fact that my field of work is exper­i­men­tal Stere­o­graph­ic Art, I am record­ing and doc­u­ment­ing in 3D wher­ev­er I go, such as Gal­leries and Muse­ums, and espe­cial­ly, when a Mon­u­men­tal Instal­la­tion by an Inter­dis­ci­pli­nary artist, or artists takes place. How­ev­er, I have dis­cov­ered that 3D can cap­ture and retain a sense of the phys­i­cal and  geo­graph­ic  expe­ri­ence of being immersed in such a mas­sive art exhib­it, bet­ter than tra­di­tion­al 2D record­ings. These Mon­u­men­tal Instal­la­tions can typ­i­cal­ly take up a city block or more in size, but are unavoid­ably and trag­i­cal­ly imper­ma­nent. Fel­low par­tic­i­pants are an impor­tant ele­ment of these enor­mous instal­la­tions, and their pres­ence and inter­ac­tion with the piece can also  be cap­tured with­out dis­rup­tion by using a pair of small, hand-held cam­eras for record­ing in 3D.

Because dif­fer­ent peo­ple have dif­fer­ent expe­ri­ences, I try to return to the piece and shift my focus and sense of awe to dif­fer­ent aspects of the piece so that an edit­ed ver­sion can pro­vide a cumu­la­tive impres­sion while also cap­tur­ing the dif­fer­ences that an ever-chang­ing pres­ence of fel­low vis­i­tors pro­duces. Both of the fea­tured 5‑minute long 3D videos have an infor­mal intro, with occa­sion­al text  pages that give the view­er infor­ma­tion and insights as the video pro­gress­es. This, I feel, helps the view­er set­tle in and immerse them­selves in the  3D rend­ing of the  art­work, as well plac­ing them among the oth­er par­tic­i­pants engag­ing in the piece. Although these present record­ings are rel­a­tive­ly casu­al, I believe that more extend­ed 3D cov­er­age and pro­duc­tion would help to pre­serve these one-of-a-kind expe­ri­ences for future gen­er­a­tions (to some extent).