Dallin Taylor

Advisor: Liane Veness

The drawing "Perceptions of Theatre" features an eye projecting lines onto an abstract stage with figures, geometric shapes, and a lamp. The composition explores themes of sight, perception, and visual deception, set against a layout grid.
Taylor, Dallin. Perceptions of Theatre. 2024. Mixed media drawing on Gestetner paper, 17” by 11”. Winnipeg, MB.
The minimalist drawing features a humanoid figure on a red chair, with a concentric spherical object framed in red. A textured black triangle and extended red lines add depth and geometric precision.
Taylor, Dallin. The Unmoved Mover. 2024. Mixed media drawing on Canson paper, 24” by 18”. Winnipeg, MB.
The drawing features multiple chair perspectives, including side, front, and top views, with precise lines and perspective details. Set against a light brown background, it emphasizes the chair's geometric form.
Taylor, Dallin. Chair Perspective. 2024. Mixed media drawing on Canson paper, 24” by 18”. Winnipeg, MB.
The drawing showcases multiple chair perspectives, including side, front, and top views, with precise lines and perspective details. It emphasizes the chair's geometric form against a light brown background.
Taylor, Dallin. Flat Glass Painting of C.A.S.T. 2024. Glass in wooden frame. Winnipeg, MB.
The art piece features a convex, reflective half-sphere made of C.A.S.T. plastic, protruding from a textured square backdrop. It is enclosed in a wooden frame with triangular side supports, emphasizing its geometric form and reflections.
Taylor, Dallin. Half-Spherical Painting of C.A.S.T. 2024. Formed plastic in wooden frame.
The image showcases a construction resembling an umbrella frame, with slender metal rods extending symmetrically from a central point. Fishing lines and wires create geometric patterns, adding complexity to the structure, which is softly lit against a gray background.
Taylor, Dallin. Perspective Device 4. 2024. Umbrella frame, lazy Suzan, fishing line and wire. Winnipeg, MB.
The image features a black-and-white structure resembling an umbrella frame, with metal rods radiating from a central axis. Thin fishing lines or wires create a web-like pattern, set against a gradient gray background.
Taylor, Dallin. Perspective Device 4 Detail 1. 2024. Umbrella frame, lazy Suzan, fishing line and wire. Winnipeg, MB.
The image features a mirrored cuboidal object with reflective panels, creating symmetrical patterns and triangular shapes. The neutral background and smooth surface highlight the object’s geometric design and reflective properties.
aylor, Dallin. Perspective Device 5. 2024. Mirror in wooden frame. Winnipeg, MB.

THE UNMOVED MOVER: VISUAL DEPICTION & THE SUCHNESS OF SIGHT

Always approaching, never arriving. Much like the theory behind the vanishing point in perspective drawing, representations serve as a constant pursuit as a means of articulating reality. If the representations and conventions architects produce to convey reality are not real, then what is real? Under this pretense, all architectural drawing, then, is a form of visual deception. Through methods of illusion and established convention, we have systematized a visual means of limitation to convince others of a potential reality which, at the point of presentation does not yet exist. There has always existed a ritualistic and transactional handing off between representation and viewer where the imagination can magnify the fragments of what is missing. Though, this point of engagement is highly subjective to the viewer’s own biases and experiences in regard to how the representation is perceived and what it could become.

If conventional representation can be understood as a form of visual deception, how might the natural precariousness of sight and attention be utilized to architecturally manifest the infrathin point situated between representation(fiction) and reality? Can the cathartic essence of theatre be utilized to push the limits of representation and perceptive experience by concentrating notions of a proposed reality in a hybrid setting?

This thesis intends to probe the threshold(s) between reality and fiction. Through notions of theatre and perspective, this work intends to critique and further unpack the limitations of ocular centric representation while beginning to consider new possibilities surrounding the infrathin parallax of attention, the perceptive gaps ‘in between’ or rather, what it is we edit out.