This is the result of applying the concepts that gave rise to the Deep Painting style, which seeks epistemic gain. In this case—using a Picasso painting—in addition to simultaneously showing two angles or perspectives of the face, it does so at different depths relative to the traditional frontal plane. This allows us to understand, for example, the skeletal or muscular structure. I reiterate that Deep Painting (and its fragmented diagonal displacement, either outward or inward from the frontal plane) challenges the idea that visual knowledge is superficial. Cubism left behind the other characteristic: the one-sidedness of visual knowledge.

The same idea, how regulating the depth of the frontal plane can help us gain knowledge