Beth Campbell Response

·      The most interesting quote from Campbell’s lecture was the term, “the veneer of everyday”. This came up multiple times in reference to multiple pieces of her work, including “House”, “Never-ending Continuity Error”, and the “Following Room”. It is technique of using mundane objects and situations, for example bedrooms or storefronts in order to imitate the look of the everyday. This creates a seemingly real phenomenon. These mundane objects lull the mind into what seem like a state of normalcy before this security of mind is broken through a visual realization. These realizations, such as not having a reflection or reaching out to touch non existent panes of glass, snaps the mind out the average thought process into questioning not only what is placed in front of it, but how the mind takes in the world around them. They lead to questioning our basic perceptions and conceptions, how much of the world we experience is our experience and how much is our thoughts.

·      Three words to describe Campbell’s work: Experiential, Jarring and Psychological.

·      Through listening to Beth Campbell speak I learned that her work seems to be deeply influenced by Buddhist philosophy and epistemology. Her work often functions as a koan as she stated they are made with “the intention to unravel expectation”, breaking people out of their comfort zone of thought to think of deeper more abstract concepts about their mind and the world around them. She spoke of “constantly being ticked in everyday… there is a veil between you and the objects… that interaction isn’t really happening.” This is eerily similar to the Hindu and Buddhist concept of the creative force of prakriti, which tricks us all into believing what is around us, is real and permanent. I never got the opportunity to ask, but both concepts are similar.

·      I did not have two original questions because there was very little online. I could not find enough to formulate intelligent questions ahead of time.

·      I found “The Following Room” the most compelling because it was the more complete and detailed illusion. At first it appears to be a single mirrored room, but if you reach out to touch, or observed it long enough you realize that it is multiple room built at different perspectives with lines imposed on the scene to look like the crack between mirrors in order to mimic reflections. This is the most jarring because there are no other clues as to the fact that it is an illusion, such as with the “Never-ending Continuity Error” where each level is a little different. Campbell also stated this was the most physical realization because viewers were constantly reaching out to touch the mirror only to realize it is not there, and then having to make sense of what is in front of them. This is the most powerful experience in my eyes.

·      Two New Questions:

o   How much does Buddhist epistemology and philosophy informs your work?

o   Do you think of your work as visual koans?

o   Have you ever thought of making an illusion large enough to surround the  viewer, like “House” but with you current concentration?