As I said, one of the characteristics attributed to visual knowledge is that it is superficial – in addition to being unilateral – but this occurs because the frontal plane (red line) is taken and behind it the figures + background, but with Deep Painting I sink the foreground (light blue lines) and with this, the plane that is represented in the painting can go behind different figures and with this, the knowledge of the objects is expanded, one can “see” inside the figures and therefore, now visual knowledge ceases to be superficial. Therefore, if a body, object or figure appears to be cut off, it is only apparent; it is the effect of sinking the frontal plane into the interior of the rays that come from the vanishing point.

Two points should be noted regarding Deep Painting. First, the recessed planes do not have to be continuous; that is, an image can have a recessed plane parallel to the foreground, and then it can take a diagonal angle, for example. Second, it is also possible to extend beyond the foreground, integrating figures of which only reflections or shadows are present. In all cases, information is gained. Let us remember that Deep Painting aims to eliminate the association between visual knowledge and superficiality.