These large scale stereoptic pairs present the viewer with two more scenes of altered reality. The views are "virtual" environments of studio and gallery spaces presenting historical imagery manipulated with computer technologies.
These two rooms each contain a Large scale Stereo viewing station focusing on a single stereo pair. The 2' x 2' photocollages are mounted on a corner wall at a 90 degree angle from each other. They are offset and mirror images of each other. A stool with a verically mounted mirror is positioned between the two images. The viewer places their face to the mirror, (the non reflective side features the silouhette of duchamp's face for face placement). One image is seen in the relfection and the other is seen straight on. The mirror acts as a blinder so that the two images each seen by a separate eye, converge to form a stereo image.

The Glass Factory

The factory/gallery scene places Duchamp himself in a factory which contains his Large Glass and his infamous Mona Lisa with/without facial hair. The image serves to question the mass - production of Art and/or the industrial factory as an art-piece. Other issues of Corporate Art collecting and machinery as art are intentionally implied.


Man Ray Tracing

The stereo image is an altered stereo photograph taken by Man Ray of Duchamp's studio. The addition of a record warehouse into the background and a 3-D computer model of Duchamps Chocolate grinder from The Large Glass, both relate to the central element of the original photograph: "Rotory Glass Plates (Precision Optics)". Many of Duchamp's explorations used mechanical rotation to give an illusion of three - dimensional space.


Both of these images can been seen as stereo pairs by goinghere Duchamps Rotoreliefs

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