Inspired by a post from my friend Shakhida Akhmedova, I present another version—or variation—of “Deep Painting,” in which different cross-sections of the frontal plane reveal a process. This serves as yet another counter-argument to the characterization of visual knowledge as superficial. As this image demonstrates, a continuous flow can be encapsulated within a single picture.

Let us take Vermeer’s painting The Little Street (c. 1657–1658) and apply the central concept of the “Deep-Painting” style: generating an epistemic gain (an increase in knowledge). In this instance, this is achieved by setting back the frontal plane of the main façade, thereby revealing the interior of the house and its various elements.

How should it be understood? It is a “Deep-painting” work in which a hand has been taken and specific sections of the frontal plane have been recessed to varying depths, thereby revealing the underlying bone tissue. This characteristic is inherent to “Deep-painting”; it represents a gain in knowledge that challenges the apparent superficiality of visual understanding.