The key questions being addressed through this project arose out with illusory properties created by the interrelationship and interaction of three-dimensional forms and line, marks and tone on the surfaces of these forms. In two-dimensional space, depends on how lines are arranged, it will appear various illusory effects which could undulate the surface creating spatial properties, and tone may enhance this effect as well.
A literature/ field review is currently being undertaken to identify, evaluate and discuss theories and key debates relating to the ways artists have exploited the illusory properties of line, marks and/ or tone to manipulate perception of two and three-dimensional artworks. To date, this has included examination of key psychological theories of perception relating to illusory properties in artworks and the work of selected artists, including Brigit Riley, Patrick Hughes.
The practical trials have explored that the arrangement of pattern of black and white lines, which create three-dimensionalities on the flat surface, may affect the form in concave and convex surfaces. It also has been investigated that superimposed two patterned layers create the illusory second images and movement called moiré pattern, which can be manipulated more effectively by gaps between two layers.
Based upon findings from this first stage, a further series of trials will be conducted to examine selected properties and principles resulting from the arrangements of surface marks to form, the materials and tools used and transformations which may occur, arising from the firing process.