The View Mirror explores the concept of manufacturing paradise. Through abstraction, the mirror simulates an idyllic landscape within a contrasting urban setting. The city, itself, is a manufactured landscape that makes countless attempts to domesticate aspects of the natural world.
Throughout the nineteenth century, Romantic artists began to classify landscape painting and literature into various genres, one of which was the picturesque. Picturesque landscape paintings worked as a psychological experience, confronting viewers with natural beauty and scenic views.
Bringing the picturesque landscape into the home has been a tradition for many cultures around the world. For centuries, artists have created landscape paintings to transport viewers beyond mundane environments and domestic spaces. In China, Song Dynasty landscape paintings allowed viewers to following meandering paths and steep trails, while European landscape of the Romantic Period (1800 - 1860) provoked images of paradise.
Although the View Mirror depicts an abstracted landscape, it differs from that of a traditional wall-hung landscape painting. The round perimeter is reminiscent of Victorian mirrors, inviting viewers to physically see themselves inside the display. The mirror becomes a dichotomy of vertical portraiture and horizontal landsdcapes.
Laminated Glass with UV Printing