Dazzle Study #10 an onwards were to be a series of abstract artwork, both site specific work and as individual sculptures, based on the theory of Dazzle Camouflage. The camouflage, credited to the English painter Norman Wilkinson, where first used during the WW1 and the nature of it was in itself contradictive to definition of camouflage, being designed to confuse rather than conceal. It’s effectiveness as camouflage was also uncertain as the British admiralty concluded it had no effect on submarine attacks, though boosted crew morale. I did indeed produce Dazzle Study #01 to #09 which climaxed in being my work for the graduate exhibition at the Emily Carr University in the spring of 2009, though the future of the project was brought to an end with tproduced by Tobias Rehberger at the Venice Biennale constructed principles (though far better produced) less than one month later.
Dazzle Study #10 an onwards were to be a series of abstract artwork, both site specific work and as individual sculptures, based on the theory of Dazzle Camouflage. The camouflage, credited to the English painter Norman Wilkinson, where first used during the WW1 and the nature of it was in itself contradictive to definition of camouflage, being designed to confuse rather than conceal. It’s effectiveness as camouflage was also uncertain as the British admiralty concluded it had no effect on submarine attacks, though boosted crew morale. I did indeed produce Dazzle Study #01 to #09 which climaxed in being my work for the graduate exhibition at the Emily Carr University in the spring of 2009, though the future of the project was brought to an end with tproduced by Tobias Rehberger at the Venice Biennale constructed principles (though far better produced) less than one month later.