‘Given that we are psychologically programmed to see patterns in randomness, it is little surprise that a wide array of artists have adapted this “apophenia” to aid their art. Most often this finds expression in forms of pareidolia, where human or animals are discerned in arbitrary shapes.
In his notebooks, Leonardo da Vinci recommended that artists examine stains on walls and the textures of stones, and let their imagination run wild in interpreting resemblances. Salvador Dalí conjured up many of his surreal visions from the natural rock formations on the Cadaqués coast, and Max Ernst made pictures from rubbings of tree bark. It was an inspiring way of bypassing reason or, at the very least, predictability. Other artists conveyed the pareidolia directly to the audience; whether the distorted scale of halftone dots in Pop Art or the pointillism of that movement’s unwitting ancestor Georges Seurat. It is also a technique centrally and subtly employed in Tina Gverović and Siniša Ilić’s otherwise dramatic Project Space: Inverted House at Tate Modern, where the barest presence takes human form, a form perilously close to being erased…’
Review of Project Space: Inverted House by Tina Gverović and Siniša Ilić at Tate Modern, London.