|
This French term means literally, ‘to trick the eye’.
Our brain is the part of our body which sees and processes
all the information and sensations. This technique aims at
creating a three-dimensional effect on the surface, or even
photorealism, and inducing our minds with any sensation, perspective
or dimension previously established by the artist.
About this technique there is a story which occurred in ancient
Greece. Two rival artists challenged each other into deciding
who would be able to reproduce a perfect illusion of an object.
The first, named Zeuxis, painted a bunch of grapes which was
so realistic that birds flew into the room to peck at the
painted grapes. His opponent, Parnhasius, brought his painting
covered by a white curtain. As Zeuxis tried to draw back Parnhasius’s
painting, he got amazed to realize that he had lost the contest:
what he assumed to be a curtain covering a painting was the
painting!
Revitalized in the Renaissance, and with the current appearance
of perspective and renderization techniques which are more
and more realistic, the impact of utilization of these two
variables can be calculated so as to obtain the most of optical
illusion. Today this technique puzzles scholars who study
the nature of art and its perception.
In this sense, the artist can really transfer all his originality
to the physical plan, harmonizing, or breaking neutral surfaces,
or even bringing them to life; filling in spaces, smoothing
corners and angles; everywhere the artist’s boldness
takes.
It was exactly such boldness which took Jefferson Cabral to
design and carry out one of his most famous works: the painting
of a wooden floor at an architecture and decoration exhibit,
reproducing a French Ambuison carpet:
|
