A Quote by Cornelia Parker
I like the idea of taking three-dimensional objects and making them two-dimensional so that they look like cartoons.
Related Quotes
If a shadow is a two-dimensional projection of the three-dimensional world, then the three-dimensional world as we know it is the projection of the four-dimensional Universe.
One thing is sure - we have to transform the three-dimensional world of objects into the two-dimensional world of the canvas.. ..To transform three into two dimensions is for me an experience full of magic in which I glimpse for a moment that fourth dimension which my whole being is seeking.
Carbon has this genius of making a chemically stable, two-dimensional, one-atom-thick membrane in a three-dimensional world. And that, I believe, is going to be very important in the future of chemistry and technology in general.
Since a three-dimensional object casts a two-dimensional shadow, we should be able to imagine the unknown four-dimensional object whose shadow we are. I for my part am fascinated by the search for a one-dimensional object that casts no shadow at all.
Things danced on the screen do not look the way they do on the stage. On the stage, dancing is three-dimensional, but a motion picture is two-dimensional.
Painting does what we cannot do - it brings a three-dimensional world into a two-dimensional plane.
Painting does what we cannot do—it brings a three-dimensional world into a two-dimensional plane.
Genes are effectively one-dimensional. If you write down the sequence of A, C, G and T, that's kind of what you need to know about that gene. But proteins are three-dimensional. They have to be because we are three-dimensional, and we're made of those proteins. Otherwise we'd all sort of be linear, unimaginably weird creatures.
... Rembrandt is not a painter at all. He is a creator, who creates his beings, three dimensional living beings, on a two-dimensional flat surface which acts as a mute, and enforces silence on them.
My fascination has been the space between cloth and the body, and using a two-dimensional element to clothe a three-dimensional form.
Essentially, I look for what is interesting to me, out there in the three-dimensional world, and translate or interpret so that it becomes visually pleasing in a two-dimensional photographic print. I search for subject matter with visual patterns, interesting abstractions and graphic compositions.
Film is a two dimensional thing - it goes up and down and left to right but if you put that music into that two dimensional medium, it became like a third, fourth, and fifth dimension, I really believe in that.
The way that light hits objects in life, three-dimensional objects before you photograph them, is really the story of photography.
Our universe - it's three-dimensional, but we can pretend it's two-dimensional so it's like this sheet of paper - and we live in Pasadena over here and London is over there, and it's thousands of miles from Pasadena to London.
Since I found that one could make a case shadow from a three-dimensional thing, any object whatsoever - just as the projecting of the sun on the earth makes two dimensions - I thought that by simple intellectual analogy, the fourth dimension could project an object of three dimensions, or, to put it another way, any three-dimensional object, which we see dispassionately, is a projection of something four-dimensional, something we are not familiar with.
When you shoot a film, when it was film, there used to be rushes and normally a director would look at them the next day. All directors look at the rushes, except for Fellini. I asked him why he didn't and said, "Because it interrupts my fantasy." What he was trying to say was that he had a three-dimensional, vibrant, living, volatile fantasy going on in his head, and when he looked at rushes, they were two-dimensional and they killed it.
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