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Which clippings match 'Anamorphosis' keyword pg.1 of 1
29 JUNE 2014

Bernard Pras: the perceptual organisation of found objects

"Bernard Pras is a French painter, photographer and sculptor. He has spent more than 20 years perfecting his craft. One of his more recent body of work feature sculptures of pop icons made entirely out of found objects which, when viewed from a specific angle, transforms into an easily recognizable image. His subjects include Albert Einstein,, Jack Nicholson, Bob Marley, Mao Zedong, Uncle Sam, and Che Guevarra. His inspirations include Salvador Dali, Edvard Munch, Japanese woodcut artist Hiroshige, and Guiseppe Arcimboldo."

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CONTRIBUTOR

Simon Perkins
13 MARCH 2014

Real or Illusion? Honda CR-V Spot Keeps You Guessing

"'An Impossible Made Possible,' shows the CR–V 1.6 i–DTEC Diesel traversing a surreal landscape of complex and cool visual effects. At one point, we get an Ames room type illusion where a woman blows on her coffee, apparently setting a toy Honda CR–V 1.6 atop a table in motion. It turns out the SUV is really a full–size model parked a few yards behind her ... but the weird eye–candy in the scene doesn't end there. ...

The exceedingly stylized clip, directed by Chris Palmer of Gorgeous, succeeds as a pure content play, and the main advertising element, a somewhat clunky voiceover that talks about 'less fuel in for more miles out,' seem almost intrusive. Still, the point that things aren't always as they appear–a rule this campaign applies to various qualities of the Honda CR–V 1.6, such as gas mileage–is made in exceptionally eye–opening fashion."

(David Gianatasio, 22 October 2013, Adweek)

Fig.1 Honda Illusions, An Impossible Made Possible – New CR–V 1.6 Diesel Video

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TAGS

2013ad campaignAdweek • Ames room illusion • An Impossible Made Possible (ad campaign) • anamorphic • anamorphic illusion • anamorphosiscarcar ad • Chris Palmer • eye candyforced perspectiveHonda • Honda CR-V • illusionistic spaceoptical illusionperceptual organisation • Sports Utility Vehicle (SUV) • surreal landscapevisual effectsvisual illusionvisual perception

CONTRIBUTOR

Simon Perkins
18 OCTOBER 2012

Four to the Floor: the ever growing collection of Channel 4 idents

An "ever growing collection of Channel 4 current set of idents. The simple idea that flows through all these idents is the creation of 'the 4, be it optical illusion, supernatural intervention or coincidence, the iconic Channel 4 logo rears its head at some point during all these videos.

The basic premise leaves open many possibilities to play with, which perhaps also explains the longevity that these idents retain. New idents continue to be produced by Channel 4"

(John Beohm, idents.tv)

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CONTRIBUTOR

Simon Perkins
25 JANUARY 2011

Scientist as artist: optical illusion works by Jonty Hurwitz

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CONTRIBUTOR

Simon Perkins
31 OCTOBER 2009

Felice Varini at Osaka Securities Exchange Building

"If we approach the painting of Felice Varini with the aim of describing it, in its fundamental components, the most productive concepts – in particular those of 'vantage point', 'focus' and 'framing' – all closely related to the vocabulary of photography. If we begin with the device Varini employs in each of his artworks, the differences between painting and photography are, effectively, reduced to a minimum. The artist's work, concentrating on the problem of falsehood of images in relation to the truth of perception, makes use of photography, going so far as to equate it with painting in the strategies of constitution and unmasking of iconic status. The roots of photography – the 'machine à dessiner' and the camera obscura – closely connect it to the tools of the painter. Photography demonstrates the functioning of perspective as a construct based on the fixed gaze and monocular vision, thus radicalizing the theme of painting as illusion: 'in the window and in the photograph the framed world seems to inscribe and represent itself in an immediate manner' (1)."

(Roberta Mazzola)

1). Johannes Meinhardt, La realtà dell'illusione estetica. Le 'trappole visive' di Felice Varini, Lugano, Edizioni Studio Dabbeni, 1999, p. 29. The definition machine à dessiner dates back to France in the 17th century. On the forerunners of the camera, see: Heinrich Schwarz, Arte e fotografia, Torino, Bollati Boringhieri, 1991.

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TAGS

anamorphicanamorphosisartistartwork • camera obscura • falsehood of images • Felice Varini • focusframegazeillusionillusionistic spaceJapanop artoptical art • Osaka • paintingpainting as illusionperspectiveperspective viewphotographyplacePOV • Securities Exchange Building • truth of perceptionvantage point

CONTRIBUTOR

Simon Perkins
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