ABSTRACT
Perhaps it’s a midlife or twilight grasp at, or gasp of, creativity. Tentatively, you enrol in a drawing, a painting or an art theory class at the local community college, community centre or institution for ‘hire-learning’. Inevitably you encounter the laws of perspective. Some instructors carry you back to Chinese or Greek antiquity; others will commence mid-way through early fifteenth-century Renaissance Italy with Filippo Brunelleschi to introduce the vanishing point, one, two, three and four-point perspective. It seems so obvious, doesn’t it: objects, and the spaces between them, shrink as they recede into the distance.
