CHAPTER 5 projecting The architecture of the painted surface is being redefined, as and sculpture in inventive combinations. Three-dimensional art forward ing with three dimensions, artists employ a variety of materials and processes. Substrates such as metal, wood, wax, handmade paper, glass and plastic defy their flat origins when they are cast, mixed-media aesthetics are uniting the disciplines of painting captivates an audience with its engaging constructs, intrigu- ing enclosures, tactile surfaces and custom add-ons, in which sculptural projections add not only depth and dimension but also meaning to the work. Because they can be seen from a multitude of angles, artis- tic constructions create a unique experience for the viewer. To captivate the audience and draw the eye in from any direction, artists work on all sides of the dimensional picture. When work- molded, wrapped, embossed, carved or embellished. Accents such as decorative trim, ribbon, lace and fabric can also be trans- formed when treated with acrylic gel medium, gesso or encaustic and left to harden after they are shaped. To add mystery and intrigue, artists are penetrating the picture plane with clever enclosures. Cages, inlaid boxes, frames and slotted windows are being used in myriad ways, creating an entirely new spatial arrangement. With the addition of living creatures and kinetic objects, an artistic work becomes dynamic and sensory-charged. Black widow spiders, snakes, rats, butterflies and doves as well as pendulums, candles and clocks each have made an appearance in the three- dimensional pictorial realm as symbolic, free-moving accents--altering the look of the work in real time. To illuminate a concept in a provoca- tive way, artists are employing custom and repurposed add-ons as titillating visual clues to the overall message of a work. Antique door knockers and handles, ornate dresser knobs, decorative fixtures and vin- tage techno-parts and trinkets bring a time-tempered, historical feeling to a piece of art, while natural accents such as dried flowers, leaves, twigs, bark, driftwood and shells provide an organic element. Artists almost never use their assemblage accents in the state in which they were found. Many like to craft the surfaces of found and repurposed objects, redefining them to fit their own visual vernacular. Acryl- ics, ink, oil sticks, water-soluble crayons, colored shellac, crackle varnish and wood stains are being applied with a rag or brush and then wiped, sponged, scratched or sanded to create interesting patinas and Stanford MBAs . Barron Storey SIZE: 30" × 24" × 14" (76cm × 61cm × 36cm) / MEDIUMS: plaster, urethane foam, acrylic and spray paint / MATERIALS: cloth, wood and string / TECHNIQUES: casting, sculpting, wrapping and assemblage / CLIENT: Stanford Business magazine 80