A photographer who works for Getty took my photo, it looked really nice, he said he’d email me it but never did. So I’m a little disappointed by that, if anyone sees a picture of me doing a painting in castlefield please send it to me.
This is a good example of how sketching out a painting carefully is a big help. I spent two days on the sketch for this working out how it works. You see, it looks a bit strange but also makes sense, the bottom left corner and the top right corner look like they should be the same way up, but the bridge going over head says otherwise. So perspective all depends on your perspective. I chose not to have the horizon on the horizon, but going over head instead which means the world has to curve around it. I didn’t bring the sketch with me when I did the painting, but remembered the best approach I learned to take while doing the sketch. The sketch looks much more distorted than the painting.
I noticed the idea seems to make more sense when looking at the painting upside down, it looks more like a reflection in a puddle, somehow this makes the contradicting space more believable.
I read a little bit about curvelinear perspective on the internet, and the writers are talking about making a curved grid in a circle and then drawing lines towards the centre, which ends up with things very large in the middle and very squashed at the edges like a reflection in a convex mirror, which I don’t think is very accurate because that’s more like a distorted reflection than turning your head round while you’re looking at things.
I like this picture.