Stereoviews: Two pints of perspective if not Three
Holmes viewer stereocards
2013
This series makes direct reference to the two points of perspective required to produce a stereo image. Sylvia has captured still photographic images of farming crops across seasonal timeframes from when crops are planted to when they are ready for harvest.
Sylvia’s interest in stereo photography, also known as stereoscopy is the process of presenting two offset images separately to the left and right eye of the viewer, thus enabling two-dimensional images to have dimensional depth when seen through a stereoviewer. This 19th C photographic technique allows the observer to have an increased sense of information about the 3-dimensional objects being displayed.
Victorian stereoscopic imagery was closely aligned with ideas of opening a dimensional world of places for viewers to explore first-hand through the photographic image. In Stereoviews: Two points of perspective if not Three Sylvia has used analog stereo-film techniques to create a viable medium for her work. The stereo process used by Sylvia metaphorically and virtually allows the viewers to experience farming subjects in close intimacy and dimensional detail. Since farms are often closed enterprises in which the public has limited familiarity with the seasonal and labour cycles. This series highlights some of the overlooked details associated with cultivation practices and farm management.
Stereoviews also plays subtly on the fact that Sylvia has selected her stereoview images to reside both as diptychs and as 3-D works. Her subtle arrangements straddle indirectly a historical process and place it in tension with the fast-paced evolution of 3-D imaging associated with today’s film entertainment. By working unconventionally both with medium and subject, viewers are given an opportunity to question the place of 3D in art and in the wider definition of contemporary art.
Holmes viewer stereocards
2013
This series makes direct reference to the two points of perspective required to produce a stereo image. Sylvia has captured still photographic images of farming crops across seasonal timeframes from when crops are planted to when they are ready for harvest.
Sylvia’s interest in stereo photography, also known as stereoscopy is the process of presenting two offset images separately to the left and right eye of the viewer, thus enabling two-dimensional images to have dimensional depth when seen through a stereoviewer. This 19th C photographic technique allows the observer to have an increased sense of information about the 3-dimensional objects being displayed.
Victorian stereoscopic imagery was closely aligned with ideas of opening a dimensional world of places for viewers to explore first-hand through the photographic image. In Stereoviews: Two points of perspective if not Three Sylvia has used analog stereo-film techniques to create a viable medium for her work. The stereo process used by Sylvia metaphorically and virtually allows the viewers to experience farming subjects in close intimacy and dimensional detail. Since farms are often closed enterprises in which the public has limited familiarity with the seasonal and labour cycles. This series highlights some of the overlooked details associated with cultivation practices and farm management.
Stereoviews also plays subtly on the fact that Sylvia has selected her stereoview images to reside both as diptychs and as 3-D works. Her subtle arrangements straddle indirectly a historical process and place it in tension with the fast-paced evolution of 3-D imaging associated with today’s film entertainment. By working unconventionally both with medium and subject, viewers are given an opportunity to question the place of 3D in art and in the wider definition of contemporary art.
Working in Surrey, BC
Sylvia acknowledges as an artist working in the City of Surrey, she has photographed and worked on the unceded territories and traditional territories of the Coast Salish peoples, Semiahmoo, Katzie, Kwikwetlem, Kwantlen, Qayqayt and Tsawwassen First Nations, and she pays respect to the Elders, past and present, and to future generations.
Project reviews
2020
www.surrey.ca/arts-culture/surrey-art-gallery/gallery-publications/exhibition-catalogues/shifting-perspectives
2013
Hunter, Dorothy. " This one's for the Farmer' e-catalogue, Surrey Art Gallery, BC, Canada. 2013
Laurence, Robin. “Fall arts preview: Sylvia Grace Borda finds art in farms and sequins” in the Georgia Straight Newspaper, Vancouver, September 11 -18, 2013.
http://www.straight.com/arts/421776/fall-arts-preview-sylvia-grace-borda-finds-art-farms-and-sequins
Sylvia acknowledges as an artist working in the City of Surrey, she has photographed and worked on the unceded territories and traditional territories of the Coast Salish peoples, Semiahmoo, Katzie, Kwikwetlem, Kwantlen, Qayqayt and Tsawwassen First Nations, and she pays respect to the Elders, past and present, and to future generations.
Project reviews
2020
www.surrey.ca/arts-culture/surrey-art-gallery/gallery-publications/exhibition-catalogues/shifting-perspectives
2013
Hunter, Dorothy. " This one's for the Farmer' e-catalogue, Surrey Art Gallery, BC, Canada. 2013
Laurence, Robin. “Fall arts preview: Sylvia Grace Borda finds art in farms and sequins” in the Georgia Straight Newspaper, Vancouver, September 11 -18, 2013.
http://www.straight.com/arts/421776/fall-arts-preview-sylvia-grace-borda-finds-art-farms-and-sequins
Stereoviews: Two points of perspective if not Three
as installed at the Surrey Art Gallery for the exhibition "This one's for the Farmer, " Sept - December 2013
as installed at the Surrey Art Gallery for the exhibition "This one's for the Farmer, " Sept - December 2013