Among the most well-known spatial illusions employed in film industry is ‘forced perspective’: a method of providing the viewer with visual clues of a "fake" perspective so consistently that doubting its accuracy would not enter one’s mind. With no other viewpoints and spatial markers, we have no way of accurately estimating the distance and scale of what we see. This way, actors can play characters smaller than they are and maquettes be used instead of actual landscapes. Such way of "bending" the space made it possible to film the early science fiction movies, such as Metropolis (1927) by Fritz Lang, where whole cityscapes were built out of smaller sized cardboard models. In this story, as in many others since that, the eye of the camera thus assumes the role of the ‘unreliable storyteller’.
Another exceptional, almost puzzling spacial illusion is depicted on Metropolis’s promotional poster by Boris Bilinsky. The illustration uses a familiar two-point perspective, yet the image projects an exceptionally vibrant mass of blocks and high-rise buildings. In order to understand the structure of the spacial illusion behind this work of art I drew the perspective lines from some of the most prominent visual elements on the image. It is interesting to see how the odd size-ratio and scattered diagonals are backed by the strong horizontal markers and surprisingly consistent tones of aerial perspective. Viewing the lines alone, the grid seems suggestive of large structure, instead of a cityscape, jutting out towards the viewer, thus creating the subconscious effect of immediacy. It is impressive how using but a few markers of perspective, Bilinsky has managed to evoke a unique and immersive experience of depth.
In my work I also seek to inspire spatial perception, though in less illusionistic terms. Our minds are already so tuned in to thinking in spaces and places that rather few visual clues are needed. I can use the sense of expectation and take it further, bringing an awareness to a place or change it into something else entirely. The experience of depth can thus happen in the most unexpected forms and places. It becomes a game and a journey, moving and discovering. As I create my works I see them as visual landscapes. My goal is to provide a spatial experience, to invite the viewer on a journey.