A Quote by Issey Miyake

My fascination has been the space between cloth and the body, and using a two-dimensional element to clothe a three-dimensional form. — © Issey Miyake
My fascination has been the space between cloth and the body, and using a two-dimensional element to clothe a three-dimensional form.
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.
The peculiarity of sculpture is that it creates a three-dimensional object in space. Painting may strive to give on a two-dimensional plane, the illusion of space, but it is space itself as a perceived quantity that becomes the peculiar concern of the sculptor. We may say that for the painter space is a luxury; for the sculptor it is a necessity.
It is impossible to imagine a four-dimensional space. I personally find it hard enough to visualize a three-dimensional space!
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.
There are many things one thinks about in a painting. Often, it's how to handle your chosen medium and how to best reveal the light in a three-dimensional form on a two-dimensional surface.
We are actually fourth dimensional beings in a third dimensional body inhabiting a second dimensional world!
Most architects think in drawings, or did think in drawings; today, they think on the computer monitor. I always tried to think three dimensionally. The interior eye of the brain should be not flat but three dimensional so that everything is an object in space. We are not living in a two-dimensional world.
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.
I'm very interested in how we read things, especially the link between seeing two-dimensional and three-dimensional images, because of how I read.
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.
The psychedelic mind is a higher dimensional mind, it is not fit for three dimensional space time.
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.
I like the idea of taking three-dimensional objects and making them two-dimensional so that they look like cartoons.
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.
The joy of painting lies precisely in the challenge of memory and the challenge of translation from the lived experience to the two-dimensional or three-dimensional symbol.
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