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The discussion links Collis’ approach to trompe-l’oeil, analyzing how constructed “accidental” marks use life-size fit and context, while boundaries remain managed rather than 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does Collis’ work affect the gallery visitor’s sense of certainty?","Question",{"text":63,"@type":64},"The text describes how the exhibition’s apparent emptiness and the controlled disturbance of familiar cues create uncertainty and embarrassment, suggesting the viewer may have come at the wrong time or before installation is complete.","Answer",{"name":66,"@type":61,"acceptedAnswer":67},"What does the text claim Collis does to the hierarchy of objects in the gallery?",{"text":68,"@type":64},"By making previously invisible details the main event and collapsing distinctions between significant and insignificant elements, the work invites re-evaluation of the gallery space and where the viewer should be looking.",{"name":70,"@type":61,"acceptedAnswer":71},"How is Collis’ practice related to trompe-l’oeil, according to the text?",{"text":72,"@type":64},"The text presents trompe-l’oeil as deception of the eye and explains that Collis’ works, such as “100% Cotton” (2002), construct seemingly accidental marks from hundreds of embroidered stitches, aligning with trompe-l’oeil rules about life-size and perfect contextual fit.","https://schema.org",{"og:url":32,"og:type":75,"og:title":10,"og:site_name":45,"og:description":12},"article",{"robots":77,"canonical":32},"index,follow",{"doc_id":79,"site_id":7},429790,1791462048,{"code":4,"msg":82,"data":83},"success",[84,88,91,95,100,105,110,114,119,122,126],{"id":22,"doc_module":4,"doc_module_name":25,"category_name":85,"show_sort_weight":86,"slug":87},"Story & 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\u003Cbr>Library Services   |  |\n| --- | --- |\n| De Montfort University  \u003Cbr>www.library.dmu.ac.uk   |  |\n| Please return this item on or before the date indicated below (if you have  \u003Cbr>used Self Service please write in the date yourself as a reminder-the due date  \u003Cbr>is printed on your receipt).  \u003Cbr>Items are issued subject to reservation recall.See Library Guide for details.  \u003Cbr>Fines will be charged for the late return or late renewal of items.  \u003Cbr>24 hour renewals can be made by telephoning(0116)2577043,or you can  \u003Cbr>renew online via the Library Catalogue under 'My Account'.  \u003Cbr>General library information:(0116)2577042(service hours)   |  |\n|  |  |\n\nForm 14 PC28  \nDigitized by the Internet Archivein 2022 with funding fromKahle/Austin Foundation  \nhttps://archive.org/details/isbn  \n9780955437526  \nSUSAN COLLISDon’t get your hopes up  \nSEVENTEEN  \nDE MONTFORT UNERSITYLIBRARY:  \nB/codeFunc680a9:1311108SoqnCe:…  …Class:+09…            00c00Suffix:CO  \nDon't get your hopes up.  \n\"I didn’t know where to look\"is a phrase which often accompanies therecounting of an embarrassing anecdote,however for a gallery visitorencountering the work of Susan Collis this can be a literal experience.  \nThe gallery is a space charged with its own codes of behaviour,and inorder to show ones self as an initiate it is necessary to at least appear as ifyou know what you're looking at.Collis'work confounds even this mostbasic assumption,creating uncertainty and even embarrassment in theviewer,hinting at the faintly alarming idea that they have come on thewrong day and that the technicians are still in the process of installing theshow.By presenting us with what might appear to be an empty galleryspace,Collis disturbs the usual shorthand involved in a gallery visit,things often taken for granted such as the dividing line between“the art”and“the rest of the world”.This dividing line usually designates ele-ments such as marks on the wall,fire extinguishers,safety barriers,screwholes and mirror plates as invisible.Through disrupting the hierarchy ofobjects,and re-situating these once invisible details as the main eventCollis collapses the distinctions between significant and insignificant andopens up for re-evaluation our assumptions about the gallery space,ourbehaviour within it and where exactly we should be looking.  \nThis dissolution of boundaries however does not result in the liberationof the viewers gaze,the eye is no less manipulated in this exhibition thanit is by the gilded frames of the National Gallery.In order to engage withthis work the viewer must embark upon an exploration of the space;a listof works reveals that there are indeed works present,the next step is find-ing them.  \n100%Cotton,2002  \nBoiler suit,embroidery thread  \n63×18 inches(160×45.7 cm)  \nBy creating works that do not immediately reveal themselves,Collis'practise could be thought of as operating within the tradition of trompe-I'oeil.A literal translation of this term is deception of the eye,a processthat is key to many of Collis'pieces.The first piece Collis made whichoperated in this way was 100%Cotton,2002,which consists of a pair ofoveralls complete with drips and smudges of various coloured paint,nodoubt accumulated over several years of wear.When installed the over-alls hang on the gallery wall as if discarded by a technician or the artistherself.However,closer inspection reveals that the marks on the overallsare not accidental paint splashes,but are constructed from hundreds oftiny embroidered stitches applied by Collis to carefully mimic the appear-ance of the unintentional marks of everyday use.  \nIn her book on trompe-l'oeil painting,Miriam Milman sets out what shecalls 'the rules of the game’,a set of criteria which constitute a truetrompe-I'oeil,the first two rules are as follows:  \n1.A trompe-I'oeil must be life-size.  \n2.It must fit perfectly in the setti","cbCaibB9fd5vwWRS","https://ap.wps.com/l/cbCaibB9fd5vwWRS","pdf",2570832,48,"English","# Don’t get your hopes up\n## Gallery codes and viewer uncertainty\n## Disrupted boundaries and the search for works\n## Trompe-l’oeil rules and Collis’ practice","[{\"question\":\"How does Collis’ work affect the gallery visitor’s sense of certainty?\",\"answer\":\"The text describes how the exhibition’s apparent emptiness and the controlled disturbance of familiar cues create uncertainty and embarrassment, suggesting the viewer may have come at the wrong time or before installation is complete.\"},{\"question\":\"What does the text claim Collis does to the hierarchy of objects in the gallery?\",\"answer\":\"By making previously invisible details the main event and collapsing distinctions between significant and insignificant elements, the work invites re-evaluation of the gallery space and where the viewer should be looking.\"},{\"question\":\"How is Collis’ practice related to trompe-l’oeil, according to the text?\",\"answer\":\"The text presents trompe-l’oeil as deception of the eye and explains that Collis’ works, such as “100% Cotton” (2002), construct seemingly accidental marks from hundreds of embroidered stitches, aligning with trompe-l’oeil rules about life-size and perfect contextual fit.\"}]","Susan Collis - Don’t get your hopes up - SEVENTEEN | PDF",1790651175,74]