In the plastic arts, perspective is defined by how objects manifest in either two or three dimensional space. Renaissance art was in part preoccupied with this representation, as it enabled them to achieve a new kind of Realism.

Fast forward to the twenty-first century, the concept of dimension has been pushed so far out that terms from 4D to 10D have been coined — but how do these contribute or detract from the notions of perspective vis-a-vis Realism?

Tools of perspective have an inherent subversion, as can be seen in the work of MC Escher, where impossible realities are presented. Inner and outer worlds converge in a labyrinth of visual data. Are they really that mind-boggling that we do not even attempt to accept it?

Distorted planes, off-tangent focal points, surreal realism, and a general disregard for the rules of image building, but somehow still yielding a composition that satisfies the senses — August Lyle Espino, Franz Vocalan, Geremy Samala, Miguel Paulo Borja, and Rene Bituin hypothesize the Anomaly of Perspective.

Written by Koki