Today I can show the first DEEP PAINTING that refutes the classical idea that visual knowledge is superficial. Perhaps it won’t be understood at first, but the idea is to move the foreground, parallel or obliquely, to the background of the painting. By doing so, certain objects and figures are cut off, allowing us to see and analyze deeper layers of what is traditionally only seen superficially. For example, here the foreground has been recessed obliquely, and you can see the interior of the table, the feet, and the arms of the seated man. I call it “DEEPAINTING”

I must again emphasize that the man has his two normal arms and legs; what has happened is that I have sunk the foreground diagonally, and that is why we can now see things that are apparently hidden. That is the magic of Deep Painting, because it is a tool that allows us to overcome the apparent superficiality of visual knowledge.