People would stand in front of a painting, and start to bow after a few minutes. They would lean their body forward, closer to the painting. Those with bifocals or glasses would start to fidget with them, before leaning back to the erect position. In some instances, the visitors would approach a painting, then distant themselves, and approach again.
What we are doing is not only finding and adjusting our focal point, but also playing with our visual acuity.
Our vision is unique in the sense that we are always attempting to decode images in the HD mode, or whatever highest resolution our body is equipped with. However, this peak acuity only applies to our narrow center of vision. We might have a healthy peripheral vision, but only the center field of our vision enjoys the high resolution. An example would be if we look across a lake lined with trees, we might only sense them as a curtain of color, especially when we are not focused on them. But the moment we focus on these distant pixels, we can actually make out the branches, and perhaps an eagle's nest perched on top. Thus even when we are looking at a misty fog, it might feel foggy or blurry, but our eyes can actually pick up the droplets dancing in the fog (try driving at night in fog)!
When we paint landscape we are told to bestow a lot of information to the near ground, and blur out the rest, to give focus and perspective. However, it is the behavior of the visitors in an exhibition hall that prompted me to explore the means of adding information to a "blur", to more closely relate to our own acuity characteristics.
In the following example, I was just exploiting the interaction of water and ink and Xuan. By loading the brush ink heavy just at the tip, with sufficient water in its belly, the ink particles will bleed out into little fissure like streaks. This can also be accomplished by selectively wetting the outside boundary of the ink stroke with plain water. The result is a blurred line with structures.
The next example is to take this process a step further. I actually painted branch tips in the bleed zone. The result is such that when viewed from a distance (i.e. when our eyes are not focused on it) the image represents slopes shrouded in fog. Whereas when one gets closer to the image (i.e. when our eyes are focused on it) then one can begin to see the branches clearly, as our eyes will do, naturally.
By focusing on a particular object ( or subject ), we are effectively placing the image from the periphery of the retina to the fovea, the central part of our retina. There are a lot more cones ( for color perception ) than rods ( for light perception) in that central region, resulting in improved visual acuity.
