For French artist George Rousse, color is clearly important, but space, depth and perspective are everything.
For a little over three decades, Rousse has been creating art out of the crumbling walls, warped ceilings and cracked spandrels of derelict structures and abandoned buildings. To infuse these forgotten places with color is a statement in and of itself – but more impressive still is how Rousse colors his canvass. A typical example of Rousse's work, the painting above can only be seen in this state from a specific point within the building. A step or two in any direction, and the illusion of a cohesive piece pulls apart at the seams.
Rousse's installation, seen from two alternate angles (via)
Here's another of Rousse's pieces, borrowed from the documentary "Georges Rousse Art Project in Miyagi":
Rousse's biography sheds more light on the motivations behind his three-dimensional aesthetic:
In his photographs, Georges Rousse compels us to read architecture as static, images as immobile, then gradually transforms our perception of Space and Reality. The final photographic image perturbs our visual habits and convictions by presenting three kinds of space: the real space, where he makes his installations; an imaginary utopian space, which the artist invents and then carefully builds at his chosen site; and a new space that is visible from only one spot when he clicks the camera shutter, and exists only in the photo.
The convergence of these spaces goes beyond a visual game: Like a hall of mirrors, enigmatic and dizzying, it questions the role of photography as a faithful reproduction of reality; it probes the distances between perception and reality, between imaginary and concrete.
The technical term for this effect is anamorphosis. Anamorphic illusions are some of the best examples of visual trickery out there, but large-scale ones – like Rousse's, or Swiss artist Felice Varini's – are far and away our personal favorites.