The painted glasses cannot be observed directly on the nose of the spectator. They require retreat because the eye, too close from painting, cannot manage to adapt its focus. So, the work of the stereoscopes came rather logically.
They are is a bit unusuals because they don’t represent the same thing for each eye.
So, during the observation through the stereoscope, the brain of the viewer devellops
an image which does not exist: the drawn skull overlaps the character painted in front of his bookshelves.
I found interesting that the viewer loses all its visuals contacts with reality and finds himself “in a mental construction”.
Indeed, if he wants to observe only one of the images, he must close one eye.
In this work, I wanted to compose an allegory between the status of drawing, which can be considered for me as the skeleton of a representation, and painting which is more in the realm of the skin, the sensuality of a picture.