TROMPE LOEIL & ANAMORPHOSIS

Originally presented at International Association of Contemporary Mosaicists

conference in Melbourne, Australia, 2004

Lets do a little experiment: everyone cross your fingers on one hand, then,
after closing your eyes, poke a pen or pencil into the cleft of your crossed fingers.
Doesnt it feel like youre touching - two things? In anamorphic and trompe loeil art
were dealing with the phenomenon of tricking the senses.
(COCHRAN BRIDGE ILLUSION)
(WHATS THE ANGLE W. Cochran, Angel)
Trompe loeil and anamorphic effects have engaged artists and audiences since
antiquity. Both genres involve deception and secret knowledge, which are always
intriguing subjects. They readily lend themselves to playfulness and surprise. Both also
engage the scientific mind, requiring some understanding of optics and geometry to be
executed effectively, especially on an architectural scale.
In this brief talk, I hope to provide an introduction to these related subjects, explain at
a basic level how they function and hopefully entice you to consider incorporating
either or both in your own work -- whether you are artist or designer. Youll see some
outstanding mosaics, but also work in other media when those artists have created
particularly successful or original treatments. Artists have done trompe loeil works at a
table-top and on an architectural scale. For most of us, it may be practical to make our
first efforts on a smaller scale to learn the ropes and get a quicker taste of the
challenges and rewards. During this hour well stray quite far from the main subject of
our conference mosaics but hopefully stimulate our thinking about what and how
we see. And thats a worthy pursuit, whatever the style and medium of our artistry.
Definition:
Trompe loeil simply means trick the eye. One of the first references I found was a
description of an ancient Greek painter whose landscapes were so realistic that -supposedly -- live horses were enticed to join their fellows in the painting, before
realizing they had been fooled. This may simply be a form of bragging, but it raises the
question of how trompe loeil is distinguished from simple realism in painting or
sculpture. Is a life-like sculpture, such as the Nureyev tomb (AKOMENA NUREYEV
TOMB) created by our colleagues at Akomena -- Francesca Fabbri, Giuliano
Babiniesca & designed by Ezio Frigerio,) a hologram that projects candy into our space

(WHATS REAL Mark Diamond), or a very realistic painting (CAN I TOUCH?- SHIRT)
a trompe loeil. Lets not decide yet.
Every figurative artwork contains an element of illusionism -- asking us to believe or
identify with the subject. Time and place dont matter. Representational artwork,
whether in the form of a roman era portrait, (REALISM IS TIMELESS roman lady and
Sandy Robertson window view) an intimate contemporary view , a Chinese silk
painting, Michaelangelos Last Judgement or a political comic strip -- all ask us to
identify with some real or imagined world.
What makes trompe loeil special is its specific goal of tricking us, even if only for a
moment. (WHOA - HORSE BATHROOM) In all illusionistic images, there is an effort to
make the artwork resemble its real-world counterpart and often that resemblance is
remarkable (REALISM = TROMPE? St. Denis detail). In trompe l'oeil, however, the
art object appears to be the thing itself. And even though very realistic, this image of
St. Denis is meant as symbolically, not physically, real. (REALISTIC, BUT St. Denis).
Heres another realistic image this time of mosaic roses (PROPORTION rose
medallion) designed by Margaret Nielsen, fabricated by Travisnutto studio). But the
scale tells us these are not real flowers. However in this next design by American
painter Jack Beal (also fabricated by the Travisnutto studio), the scale and continuity
with the viewers space are such that a convincing illusion IS created. (CONTINUOUS
WITH OUR SPACE Jack Beal, Return of Spring).
Next we look at a wall that appears damaged (JOHN PUGH, TAYLOR HALL & DET),
but actually the wall is smooth. Same situation here .JOHN PUGH LOS GATOS FULL)
California is prone to earthquakes! Pompeii is prone to disturbances, too, but this floor
illusion has survived and is convincing enough that visitors often hesitate to walk on it.
(UNDERFOOT - POMPEII TUMBLING BLOCKS) (NEEDNT PORTRAY THINGS
border detail)
Theres a long tradition of trompe loeil illusion: According to Pliny and Vitruvius, the
ancient Greeks and then the romans painted fruit and game (rabbits, seafood etc.) in
their homes as symbols of hospitality, in tribute to bounteous harvests and as signs
and symbols. (SYMBOL - JEAN DESTRADE - SANDALS).
The more realistic the depiction, the more convincing and satisfying. (HELP
YOURSELF - ROMAN PEARS), (ABUNDANCE - FRANK FASSARELLA TOMATOES)
(MORE ABUNDANCE - HELEN BODYCOMB, RENE SCHAEFER AND SAVINA
HOPKINS - HARVEST.)
During the early renaissance, Giotto is alleged to have painted a fly on one of his
paintings w/ such realism that his teacher Cimabue tried to shoo it off. This seems a
trivial example, but its emblematic of a broader historical phenomenon. From the late

middle ages, the careful observation and pictorial representation of the natural world
was grounded in religious belief. As Thomas Kempis wrote in the early fifteenth
century, "There is no creature so small that it does not represent the goodness of
God,". The highly illusionistic flies and other insects that appear in northern
manuscripts reflect this appreciation for all of God's creations. (NO CREATURE SO
SMALL -JORIS HOEFNAGE MANUSCRIPT.JPG) To depict them faithfully, artists
began to look at nature with a scientific eye, recording flora and fauna with an
exactitude that would be essential to their exploits in the domain of of trompe l'oeil
painting. (NO CREATURE - DURER GRASSES 1503) They also undertook
extraordinary study of mathematical systems for depicting space. Artists such as Piero
della Francesca and Leonardo da Vinci were scientists and writers, as well as artists.
Their studies of complex geometric forms on a small scale (GEOMETRIC FORMS
Leonardo POLYHEDRONS), (LINEAR PERSPECTIVE - chalice) -- including even a
hat -- was connected to the study of larger structures.
Alberti, Bramante and Brunelleschis new achievements in architectural structures
(ARCHITECTURAL PERSPECTIVE -dome) relied on delineations in linear
perspective, and complemented other artists the creation of convincing illusionistic
drawings and paintings. These schematic drawings helped stage settings for the
dramas of battles, for religious scenes and portraits, (PERSPECTIVE STAGE
LEONARDO DRAWING & ADORATION). They provided tools to fully express
Renaissance values of harmony, unity and proportion in this world and the ideal realm.
(PERSPECTIVE IDEALS - PORTRAIT)
Leonbattista Alberti in his treatise on painting entitled Della Pittura, says that the
picture plane should be treated as though it were transparent glass through which the
visual rays pass. While most Renaissance perspective paintings are not trompe loeil
(were more inclined to be drawn into the composition and directed by the perspective
staging, than to try to touch the surface) (LEONARDO LAST SUPPER), but they can
be seen as points of departure for artists who strive to open a hole in the wall or floor
(SHALL WE ENTER? 2 doorways) or even transform a whole environment, (FRANK
HAMPTON - UPTOWN 2000) taking us from being inside a Bronx, New York transit
station, to being up on a rooftop.
The Renaissance was initiated scientific research in the domain of optics. Durer,
among others, experimented with drawing devices to help accurately delineate his
forms. (MECHANICAL ASSISTANTS Durer drawing machines)
Actually, some of the principles of one-point perspective may have developed first in
the middle east, but the Moslem proscription against pictorial artwork kept this
knowledge from translating into the large body of work that would develop in Europe.

Even for well-delineated trompe loeil to work effectively, these illusions depend on
certain conditions. The lighting in the painting or mosaic should be similar to that in the
real space, so that shadows occur in the appropriate places with appropriate density -our eye is quite good at detecting inconsistencies. Also the sight lines must be
controlled, so that the angles of receding objects in the artwork are consistent with
those in the architectural environment. Sometimes the illusion works well from one
angle, but not from another, as we see in this hallway, decorated by Andrea Pozzo in
the Church of S. Ignatius in Rome. (VIEWING ANGLE POZZO S. IGNATIUS
HALLWAY 1 & 2) Lets not be quick to scoff, as this illusion is all painted on a smooth
barrel vaulted ceiling. But when the illusion matches the setting, and our vantage point
is controlled, we are readily taken in (PLACE VIEWER..- Walter Ferrarini, Ss.
Francesco e Antonio).
Some exquisite examples of low relief trompe loeil were executed in wood inlay
around 1520 at two sites in Northern Italy (ARCHITECTURAL DETAILS - intarsia fra
Giovanni) & (ARCHITECTURAL DETAILS - intarsia) These again use the polyhedron
as a motif, coupled with other motifs representative of the arts and sciences. And they
have provided inspiration for Kurt Wenner today.
(ARCHITECTURAL DETAILS - Kurt Wenner, St. Jerome )
Trompe loeil artworks of a low-relief sort, as weve seen with the floor illusions, or in
this swimming pool mosaic by Craig Bragdy design in Ireland (LOW RELIEF CHIFFON POOL) and this one by Gary Drostle from England (GARY DROSTLE
POOL) and this reprise of the famous Unswept Floor this time by Helen Bodycomb
and her colleagues (STILL UNSWEPT) & (UNSWEPT DETAIL) dont require the use of
linear perspective, but once we move into the larger sphere of architectural works, the
human eye seems to innately recognize when something aint right in the depiction of
structures and it wont be easily fooled. (PERSPECTIVE NOT RIGHT - HOUSE OF
VETTI)
Indeed, some extremely ambitious Baroque architectural illusions have been
achieved, creating the illusion of domes or heavenly vistas where only a vaulted -- or
even a flat -- ceiling was actually built. (CEILINGS IN BAROQUE- CUPOLA) Arezzo
1702 (VERONESE - VILLA BARBARO) & (S.VITALE DOME) & (PIERCING
ARCHITECTURE St. Ignatius ceiling). In the 17th century and later, itinerant artists
called quadraturists painted lavish ceilings - especially in Northern Italy and Austria.
Kurt Wenner follows this path today. (AND TODAY before & after) Kurt Wenner also
does pastel paintings on sidewalks around Europe. (ON THE STREET)
At times, these architectural illusions have been undertaken in order to overcome the
financial costs of actually building a dome, or to overcome site limitations and adjust
the architecture with trompe loeil. Today, as well. (PRESTO Dominic Anthony
theater)

These contemporary illusions often are public art statements, revealing hidden
dimensions of their settings. (RETREIVING HISTORY Pugh mural) or playing with
our sense of whats solid and what isnt. (BEFORE & AFTER Richard Haas
Fontainebleau)
Why are there relatively few examples of trompe loeil in mosaic? One reason was
well articulated by our colleague David Jack, whose beautiful mural (WHY NOT
MOSAIC? David Jack rainforest) we see here. He pointed out that the illusion is
difficult enough to create with paint, whereas the surface that gives mosaic its
distinctive look, can make it difficult to penetrate. Nonetheless, weve seen some very
convincing examples, and I certainly hope that contemporary mosaicists will continue
to make their mark in this domain, -- esp on an architectural scale, where the difficulties
of achieving illusionism can be more easily overcome when the viewer is at a distance.
Here are some additional contemporary examples of two-dimensional and sculptural
trompe loeil artworks. First, we have the Bragdy Design Studio in North Wales. Their
work is primarily hand-formed and glazed interlocking tiles that they form into largescale mosaics. Many of their clients are in the middle-East.
(ILLUSION & SETTING Bragdy, 3 abutments) (BEHIND THE SCENES Bragdy,
carving) (Bragdy, glazing) (Bragdy, glazing, layout)
(SCULPTURAL ILLUSION Scott Harrower COUCH) & (rear view)
Scott Harrower created this sculptured lounge and upholstered it
in hand-cut glass tesserae representing jacquard fabric.
It features a richly brocaded throw rug, depicting a colorful carpet of
climbing roses.
Mireille Levesque is a Quebec mosaicist whose work encompasses micromosaics as
well as large sculptures. (TROMPE SCULPTURE Mireille Levesque, Nataweg) In this
piece she has set up a kind of double-entendre, as the mosaic coloring of the form
gives it at least two readings. We may be as surprised as the Indian woman seems to
be in discovering the owl.
Now we arrive at the point where anamorphosis - a fancy word for distortion emerges from trompe loeil. Both genres share ambiguity, the power of the point of
view and deception as key principles.
During the Renaissance and Baroque periods dozens of varieties of optical devices
were invented, and the arithmetic/geometric systems for laying out large, complex
paintings were widely explored. Today, a variety of projection devices, like the one Im
using, as well as computer programs can assist artists both in scaling their work from
easel to billboard size and if desired - in creating distortions accurately and quickly.

Well find these same systems and devices used in the domain of Anamorphosis. As
we saw earlier in this medallion by John Cochran on a bridge outside of Washington
DC, the image works only when you view it from an acute angle. Face-on, it looks
weird, distorted. (CREATING ARCHIT DETAILS - Cochran angel)
I tried my hand at 2 anamorphic portraits one stretched horizontally, the other
vertically. Heres the vertical self portrait. (GEORGE F)
The big challenge I found was in trying to work in one place (after all, you can only set
the tesserae where your fingers are), while viewing the action from another place, so it
straightens out and you can see what its supposed to look like when youre done. I
was pleased with the result, but then it occurred to me that the piece would need to
hang up near the ceiling to show effectively.
My next challenge was a commissioned portrait, and Im eternally grateful to Susan for
gallantly allowing herself to be subject to the stretch treatment. Here are 3 progress
shots, beginning with the photo she sent.
SusanJ
SusanJ
SusanJ 2 views
Next we see a painted example by Ron Francis. Note how Charlie Chaplins wine
glass looks like its balanced, when viewed from the proper angle (sitting at the bar),
but tips over when viewed straighton. (VIEWING ANGLE Ron Francis, Chaplin)
This is a key concept in the domain of Anamorphosis, whose historic sources well
examine in a minute. But first well look at some of Colin Wilbourns work, as he delves
into both trompe loeil and anamorphosis.
Wilbourn, a British artist, uses stone, brick wood and steel. His public artworks utilize
illusions to evoke themes connecting viewers to the site, sometimes referencing events
that occurred there in the past, sometimes just having fun. He bridges the deception of
trompe loeil with the shifting vantage points of anamorphosis.
(BAS-RELIEF TROMPE C. Wilbourn, Windows and Walls) 1995
(BAS-RELIEF TROMPE - C. Wilbourn, Windows and Walls)
(BAS-RELIEF TROMPE - C. Wilbourn, Windows and Walls)
A series of 24 carved brick panels. 16 made by sixty 10-year-olds. 4 made by ten 60
year olds, and four made by Wilbourn and Karl Fisher. These refer to trompe loeil, but
they dont really intend to fool anyone at least not for long.
(ANAMORPHIC CULPTURE - C. Wilbourn, Shadows)

Massive nuts, bolts and rivets lie along the riverside; a steel tree is built like a crane
and a strange pattern inlaid into the paving. This work is based on the old shipbuilding
industry that once thrived here in Sunderland and the new life that has sprung from its
regeneration.
The tree is the symbol of new life from the old cranes. The pattern on the ground,
when viewed in a mirror by the trees base, is a shadow of those cranes that once
stood here. Why call it a trompe loeil? because the shadow isnt real; its a different
color of paver.
(SCULPTURAL ANAMORPHIC - C. Wilbourn, PASSING THROUGH) 1996
(SCULPTURAL ANAMORPHIC - PASSING THROUGH) 1996
(SCULPTURAL ANAMORPHIC - PASSING THROUGH) 1996
Based at the old North Dock in Sunderland, this sculpture depicts three doors and
makes reference to the past, present and future uses of that dock. It also refers back to
the glass making traditions of the area. Again, key to the piece is viewpoint. Looking at
the door straight on, it makes no sense, but then at an angle it straightens out. Same
effect we saw in the Cochran medallion on the bridge. This is anamorphosis.
(SCULPTURAL ANAMORPHIC TROMPE C. Wilbourn, Upper room) 1987-88
(SCULPTURAL ANAMORPHIC TROMPE upper room)
(SCULPTURAL ANAMORPHIC TROMPE upper room)
Viewed from a select position the disparate carvings resolve themselves into an image
of the empty Upper Room where the Last Supper was held, with the residue of the
meal that had taken place there. A ghost image like the image of Christ on the Turin
shroud, is it real or not?
Patrick Hughes PATRICK HUGHES - CANALETTO LIVES painted perspective
sculptures, which he calls Reverspectives were largely influenced by seeing
basement stairs in reverse while hiding from German bombs. I was under the stairs
and they were stairs that only a fly could climb up. Grandmothers house also had
opposing mirrors and probably all of us have stood between a pair of mirrors at one
time or another and experienced that unsettling vision. His work is especially effective
in its combination of highly realistic painting applied to sculpted surfaces that are built
inside out. That which appears to be farthest away is actually projecting out, and vice
versa. Consequently, moving past the work causes the real and the illusionary surfaces
to shift in a startling way. He also has fun with his choice of subjects.
Ok, now were going to dip into history again.
Anamorphosis - literally shape again from the Greek - is an illusion that depends for
its success on a controlled viewing angle. In fact, its all about viewing angles, as weve
seen most notably in Colin Wilbourns work. Even more dependent than trompe loeil

artworks in this regard. Many small anamorphic works were made with a notch or hole
in the frame to determine the viewing angle.
Elongation of motifs placed high on a wall was apparently understood by prehistoric
artists of Lescaux, as well as by Greeks and Romans, who enlarged motifs
proportionately as they climbed a wall or column, knowing they would shrink with
distance from the viewer on the ground. This decelerated perspective was done with
lettering, the depth of carving and the size of figurative motifs. Michaelangelos
(ANAMORPHIC SCALING last judgement) in the Sistine Chapel used anamorphic
principles and accomplishes two dramatic effects: by gradually increasing the scale in
the 3 ranks of figures, those at the top seem appropriately large when viewed from
close in (rather than shrinking). Simultaneously, the viewer from across the room sees
Christ and the rest of the heavenly host in heroic proportions!
We all remember from our art history classes that precisely cylindrical columns look
concave, and so instead they are formed with a slight swelling in the middle. This is a
form of anamorphosis, or at least it demonstrates one of the principles.
Some of the same Renaissance artists who were developing normal perspective
also devised a "secret perspective". As we saw earlier, this period gave birth to the
camera obscura and of other contrivances intended to study and accurately convey
phenomena of the visual world.(DURER DRAWING MACHINE) What about using
these same methods to distort that world, or to convey hidden messages within it?
Leonardo was among the very first to explore systematic means of elongating
drawings, so that they would read properly only when viewed from an acute angle.
(ANAMORPHIC STRETCHING Leonardo child face) from his Codex Atlanticus. I
used Photoshop to compress the copy on the right.
The simplest anamorphic effects are those that longitudinally stretched the image either vertically, as just discussed, or horizontally, as weve seen. This remarkable
example was painted in 1642 and survives today in Sta Trinita dei Monti in Rome.
(ANAMORPHIC STRETCHING E. Maignan st. francis)
(ANAMORPHIC STRETCHING st. francis)
Within the seemingly random swirl of lines, we can find St. Franciss miracle of walking
on the water in the straits of Messina. This by the way is ANOTHER St. Francis, not the
one from Assisi.
How was this design laid out? On a small scale, a drawing could be perforated and
then, using a lantern, the contours could be projected at an angle, so as to distort the
original on a wall. But to accurately lay out large scale works, the drawing devices we
looked at earlier were "turned inside out". Heres Jean-Francois Nicerons published
illustrations for a method of composition, including a method for projecting the image
onto a wall, tracing from a small design that hangs like a shutter on the wall, while a

thread is stretched tight from the point of the viewers eye past the mounted design to
the wall beyond. (ANAMORPHIC STRETCHING- maignan layout)
Heres another example, this time by Jean-Francois Niceron, showing both large and
small scale layout principles. (ANAMORPHIC STRETCHING- niceron, Layout) from a
book he published on the subject. (ANAMORPHIC STRETCHING- niceron,
Perspective Curieuse) 1646. Notice the cylindrical mirror herethats another kind of
anamorphic piece that was widely explored during the 1600s and 1700s, but illustrated
by a modern example created by Hungarian artist Istvan Orosz. (CYLINDRICAL
ANAMORPHOSIS Orosz, Column). Well also soon see some cylindrical anamorphic
mosaics.
Artists, poets and philosophers have long held that our material world contained
messages from the eternal world; anamorphosis was a compelling and intriguing
means by which such messages could be contained within the "ordinary" scene of a
landscape, for instance.
A landscape might be used to conceal portraits of revered, but politically sensitive
persons. Or. They could just be tour de force illusions, as here, where Jules Vernes
portrait is hidden within the frozen landscape of an imaginary adventure story.
(CYLINDRICAL Orosz, Jules Verne)
William Kentridge from South Africa is a contemporary draftsman and painter,
specializing in political and philosophical subjects, done in series and sometimes made
into film animations. He too, is actively engaged in studying the art and science of
perception. Videos of his projections on disk installations are available on Youtube.
Erotic images - naturally -- were also popular -- the R or X rated aspects visible only to
those in the know. Some of these were printed and passed around, much as jokes and
porn are e-mailed today. These image were painted in China from late 1500s and we
dont think it was Jesuit missionaries who brought the idea from Europe! (HIDDEN
EROTICA). Heres a another example of a flat horizontally stretched mosaic shown in
3 views, straight on and at 2 oblique angles. (STRETCHING EROTICA G. Fishman
Anakamasutra)
Over the centuries, hundreds of portraits of collectors and prominent political and
religious figures were made; (HIDDEN PORTRAITS E. Schon) Erhard Schon was a
student of Albrecht Durer . Here he depicted Charles V, Ferdinand I, Pope Paul III and
Francis I within a complex landscape. Often these kinds of images were little more than
curiosities, but more probing subjects were undertaken as well. One of the perennial
themes of artists and writers has been Vanitas, the cautionary image of the brevity of
human life and the ephemeral nature of most of our achievements and pleasures in

whatever field. A wide range of academic areas is often depicted, as in our earlier
trompe loeil marquetry cabinets, and these may be juxtaposed with wilted flowers, a
skeleton, or some other helpful reminder. Hans Holbeins famous double portrait
(HIDDEN IMAGES Holbein, Ambassadors) of 1533 presents an elaborate catalog of
symbols, but he goes a step further. He paints a skull in great detail, and splays it
across the bottom of the composition, such that its dramatic curse on the proceedings
is revealed only when viewed from below the left corner. (MEMENTO MORI Holbein,
Skull)
Robert Lazzarini, a contemporary New York artist has taken Holbeins skull (with its
message of memento mori) and made it into a sculpture one that similarly requires
an oblique viewing. Lazzarini has given the same treatment to other objects, creating
disequalibrium in the viewer. (SCULPTURAL TWIST R. Lazzarini, Skull). His Chair
(SCULPTURAL TWIST Lazzarini, Chair) also has a predecessor by our old friend
Niceron. (Niceron, Chair).
Canadian artist, ERIC LAPOINTES attenuated sculptural forms resolve themselves
from select viewing angles, however he adds another feature viewing lenses at
strategic points to focus our attention on specific parts of his work.
Today we have various computer programs to assist the layout, but the old systems of
using warped grids or working freehand are very effective too. I hope the examples
from antiquity as well as the striking examples of our contemporaries will inspire you to
venture into your own explorations. Ill finish with a few examples by British designer
Steve Field, who collaborated with mosaicists Chris Willetts, Ilona Bryan and Eilidh
Bryan in creating these pieces.
(MIRROR ANAMORPHOSIS Steve Field, Stourbridge)
In Stourbridge the tradition of blue-and-white cameo glass is reflected in the imagery,
while at Bromwich (MIRROR ANAMORPHOSIS S. Field, Bromwich) theres
reference to characters from a locally famous Victorian era novelist, to the natural
setting and to the smokestacks of the regions manufacturing history.(MIRROR
ANAMORPHOSIS S. Field, Bromwich) (MIRROR ANAMORPHOSIS S. Field,
Bromwich)
New Orleans has a gorgeous cylindrical mirror anamorphic mural in the
Intercontinental Hotel. It was created as a collaboration between Patricia Whitty
Johnson (who has since died and Charles Fritchie whos retired. ANAMORPHIC GRID
Recently, I came upon an example of a conical mirror piece. Its not a mosaic, but
rather, like some of Colin Wilbournes work, uses stained pavers. Its dedicated to two
prominent scientists and is installed outside the Manchester Museum of Science.

Understandably, some mathemeticians are intrigued by this avenue of artistic

exploration, (there are conferences for such folks too!) and there are computer
programs that can assist in working out the more complex distortions. Phillip Kent
developed one that Ive begun to use, but Im going to show a more primitive way of
laying out the design on a small cone no mirror for this piece.
I hope that this brief foray will stimulate your imaginations and pique your interest in
doing more research and experimenting for yourselves. What better vehicle to carry the
message that seems increasingly true things are not all they appear to be. Ill finish
with a clip from Patrick Hughes dvd REVERSPECTIVE.
(IM OUTTA HERE - Borell del Caso - Escaping Criticism)

Thanks to all of you who submitted examples of your work or gave me ideas
about where to look.
The principal texts referenced were: HIDDEN IMAGES, Fred Leeman; Harry
N. Abrams, 1976
ANAMORPHIC ART, Jurgis Baltrusaitis; Harry N. Abrams, 1977
Credits:
Photos courtesy artists, unless noted below