The Perceptual Paradoxes of Patrick Hughes
Hughes’s aesthetic is consistent with a variety of art-historical styles, from Pop to surrealism, but it belongs to no one category exclusively. In creating illusory senses of space, he shares as much common ground with once stated). And with regard to has explained that “he knew how to get behind the surface of things, with a hundred strategies and witty discombobulations. I don’t particularly like what Magritte’s paintings look like, I like what they think.”
Hughes’s technique is paradoxical, depicting scenes so as to create the reverse perspective of his surfaces’ physical positions in space. He calls this visual trick “reverspective.” Using angular boxes to create three-dimensional forms, he challenges his viewers’ preconceptions about depth. With Populart (2015), an imagined interior contains
In Venetian Vision (2015), the imagined gallery floor gives way to water, and classic Venetian architecture is recognizable but takes on an exaggerated, trapezoidal form. Peggy’s Palace (2015) combines interior and exterior structures into a panoramic view, the apex of which is an ocean wave entering the canal-side sculpture terrace of the Peggy Guggenheim Collection. In both works, receding parts first appear as if they are protruding, making a playful puzzle or visual riddle.