author is an observer and creator, a creator and a creation, whichever
comes first. The author should think of that analogy every once
in awhile. He should always keep one thing in mind. Whatever appears
to be unclear to him as an artist will not be clear to someone
else either. The table, mentioned earlier, is now a good basis
for the following experiment.
The glass might lose its features but the content will remain
white. Or, the glasss will retain its shape, but the colour of
the milk will change. The colour blue would be good for it is
so unfamiliar in this context. Red would not be a good choice
for it immediately conjures the image of wine, deeply familiar
and filled with meaning. Another possibility is to tilt the content
contrary to the shape of the vessel, or to extend the shape beyond
what is deemed possible.
A shoe box might be presented as if it is made of rusty metal,
or even of a piece of carpet.
The egg would be made as a piece of a mirror, reflecting what
is in front of the painting.
The enormous chunk of cheese might be given a look of a brick,
together with the brik's definitive colour.
And finaly, the loaf of bred would be white, resembling a loaf
of the elements of the table setting will change, and so the observer
will change as well. Keeping a thread, although an invisible one,
will hold the composition together. A new sensation will occur,
causing the observer to change his perspective or his point of
view. The dynamic between observer and object will grow because
of unexpected turnabout, and yet this is only the first stage
of defamiliarization. The next step would be more abstract, more
oriented towards accidental, or as is it also called, automatic
kind of change, caused by mutual influence among the elements