And more often than not, the creative aims of an artist have been at variance with the rigid perspec-tive scheme of his time. It often led to violations of the rules - the examples might be found, e.g., in medieval and Bysantine icons and in some Persian miniatures when something like impossible figures occured. Modern artists often try to break free of the strict perspective rules lay swinging to the other extreme of no perspective at all - only flatness of a flat picture. But between these two positions there is a vast range of other pcissiblities. Some of these forgotten lands are explored by Reutersvard.
Drawing is a decep-tion, but a drawing of an impossible figure is a deception of the second power.
As it was stated at the beginning - the effect is due to our restrictive habits. We are used to certain methods of interpretation of images, and to certain kinds of objects and their structures. Once more, the skill of an artist can unveil things we have not imagined, things that go beyond our mental horizons limited by our habits. In this task you will benefit from the guidance offered you by these eerie signposts arranged by Reutersvard along the paths of his impossible lands.