|| William Keddell
William Keddell is a Miami-based visual artist who explores stereographic vision and dimensional perception.
All of Keddell’s work has a stereographic element and every artwork includes a purpose-built binocular lens viewer or viewers.
William grew up in rural New Zealand before he went to London.
He attended and graduated from Chelsea School of Art and continued to reside in London making independent art films while having an active production and administration role in the London Film Makers Co-op. In the eighties he lived in New Zealand where he made art films and music videos.
In 1990 he moved to the United States to raise his family and it was then that he began to seriously explore the realm of stereo-vision.
"My work engages stereographic visualization and deals with the perception of dimensional space. The work is exhibited in two representative modes as distinct elements, but they are exhibited in tandem:
1.A flat planar wall-mounted artwork - generally a photographic print or a montage/drawing
2.A ‘Purpose-built’ binocular lens viewer.
This dual media set-up invites the spectator to distinguish between the decorative planar appearance of a flat artwork, and the private dimensional reality of the stereo viewer. The perceptual dislocation caused by this conflict interests me greatly. This is where my work is most fully experienced.
I use stereography to explore and to bring attention to a full corporeality of dimensional space. You will often see in my work the evidence of deliberate interventions, which are calculated to delineate and/or to subvert a location’s spatial characteristics. In some work it is bright pinpoints of light that have serve to carry our consciousness to the volumetric integrity of a location. In other projects the interventions have been the structured placement of numbered stakes, or of floating symbols, or of color clashes and other devices which seek to achieve the same end –which is always to bring attention to a seemingly palpable corporeal place .
In the last three years a significant part of my studio practice has worked in a different more intimate way. I have been developing a unique digital process of drawing in which two images are created simultaneously. One image is for the left eye and another is for the right eye. I utilize a combination of scientific computer software programs, which are being manipulated as if they were tools for drawing. With each new batch of work new techniques are being refined.
However, while I develop these studio techniques, I am still very much involved in the articulation of spatial and site representation. Consequently it is interesting that the drawing practice I have developed in the studio is now becoming a major tool to articulate the spatial dimensionality of my location/landscape work.