BOOKS by Sarah Frances Dias
Neste primeiro volume analisa-se a primeira componente estruturante do ser criativo: o LOGOS. Ref... more Neste primeiro volume analisa-se a primeira componente estruturante do ser criativo: o LOGOS. Reflecte-se sobre as questões da mente relacionadas com o universo da criação, das representações das épocas e da atitude; sobre os lugares que as narrativas constroem e sobre as aberturas metodológicas; reflecte-se também sobre o imaginário, os jogos de sedução, a criatividade dum modo geral desde os mitos e do acto fundador às contradições, às "metáforas disfarçadas de conceitos", sobre a representação e a complexidade dos sistemas. Questiona-se a passagem para o outro lado do espelho, as estruturas das narrativas, o enigma que paira sobre todas as coisas, a ambivalência e o segredo; equacionam-se os mundos possíveis, dá-se abertura à topologia da conceptualização, à teoria da imaginação assente sobre modelos da sagacidade e sobre as ficções, para que haja uma consciência viva sobre os universos da criação. Temos de ser seres criativos e reaprender a criar.
by Mário Kong, Maria do Rosario Monteiro, Maria João P Neto, Irina Seits, Nuno de Mendonça Raimundo, Maria João Pereira Neto, Madalena Folgado, Alexandra Ai Quintas, Sarah Frances Dias, Silvana Ferraro, Oresta Remeshylo- Rybchynska, António Canau, Ana Leonor Madeira Rodrigues, and Eduardo Durão Antunes Proportion, (dis)Harmonies, Identities - PHI 2015, 2015
Complete Book divided in thee main chapters: Architecture, Urbanism and Culture. 320 p.
PAPERS by Sarah Frances Dias
CRC Press, Taylor & Francis Group, Oct 3, 2017
Progress, understood as a growth or movement towards a goal or higher state of existence, is deep... more Progress, understood as a growth or movement towards a goal or higher state of existence, is deeply connected to the visual arts, including architecture. Art and architecture, responding to human needs, allows the progress of the world shape itself and then moves beyond it, promoting and accommodating new views, leading the way into new heights of the self and new depths of the spirit. The work analyses four inner progresses, embodied in the significance of contemporary creations. Firstly, a brief analysis of the progressive journey of the arts is presented, observing how its essence expanded and clarifying that contemporary art still strives to embody new ideas (beyond the depiction of the world) that relate to the self and its significant growths. Secondly, the significant inner progresses are presented, analysing both its aims, origins, and contemplating examples. These are: (1) the openness of existence and being, (2) the wholeness of the self, (3) connectivity and integration, and lastly (4) expansion and infinity. By connecting man to himself and to the world (cosmological and metaphysical dimensions), and by promoting an integrated open wholeness, art and architecture guide existence into new depths, defined not only by outward creations, but also and mostly, by the profound ideas that define our spirits.
Progress(es) – Theories and Practices, 2017
Progress, understood as a growth or movement towards a goal or higher state of existence, is deep... more Progress, understood as a growth or movement towards a goal or higher state of existence, is deeply connected to the visual arts, including architecture. Art and architecture, responding to human needs, allows the progress of the world shape itself and then moves beyond it, promoting and accommodating new views, leading the way into new heights of the self and new depths of the spirit. The work analyses four inner progresses, embodied in the significance of contemporary creations. Firstly, a brief analysis of the progressive journey of the arts is presented, observing how its essence expanded and clarifying that contemporary art still strives to embody new ideas (beyond the depiction of the world) that relate to the self and its significant growths. Secondly, the significant inner progresses are presented, analysing both its aims, origins, and contemplating examples. These are: (1) the openness of existence and being, (2) the wholeness of the self, (3) connectivity and integration, and lastly (4) expansion and infinity. By connecting man to himself and to the world (cosmological and metaphysical dimensions), and by promoting an integrated open wholeness, art and architecture guide existence into new depths, defined not only by outward creations, but also and mostly, by the profound ideas that define our spirits.
Utopias create an imagined world of possibilities and allow for the visualization of impossibilit... more Utopias create an imagined world of possibilities and allow for the visualization of impossibilities; like a dream, they allow for the triggering of the imagination, opening spaces for new possibilities to emerge. At the heart of modernism, was a utopian desire to create a better world, and the belief that design, art and architecture could transform society and move towards better ideals. In contemporary art and architecture, this utopian desire still defines creation, however in a new and distinct way. Two case studies are presented exemplifying two types of contemporary utopia in art and in architecture. In architecture, with John Pawson, the research clarifies a type of utopian spiritual depuration through minimalism, creating a space that allows for a contemplative way of life. In art, with Anselm Kiefer, the work explores a metaphysical and cosmological utopian type of existence, allowing for a deeper connection with the primitive and natural order of the universe. The research shows that not only is utopia part of contemporary art and architecture, but that those utopian visions do in fact, to some extent, come alive in reality. In doing so, we become closer to More's utopian dream, where men are led by the soul and by spirituality.
Tese de Doutoramento em Arquitetura, com a especialização em Teoria e Prática apresentada na Facu... more Tese de Doutoramento em Arquitetura, com a especialização em Teoria e Prática apresentada na Faculdade de Arquitetura da Universidade de Lisboa para obtenção do grau de Doutor.N/
Le Corbusier, 50 years later. Conference proceedings., 2015
Urban space, the stage of collective life, is transformed through art in order to pro- mote new l... more Urban space, the stage of collective life, is transformed through art in order to pro- mote new levels of satisfaction, integration, re-qualification and even re-create a new sense of community and creativity with the self. Briefly analysing the evolution of urban art in order to clarify its contemporary place, it is perceived that it has the potential to cre- ate diverse systems of significances, promot- ing a collective well-being and an integration of the being within emotional, cultural and poetical dimensions. The research, thus, aims to reinforce awareness of the use of art as a significant tool that endows urban space with essential qualities that would otherwise be lacking. Through the analysis of multiple ex- amples, one can see how the new dimensions of public art build relationships between the art, the lived space and the self, defining new imaginaries and new cities.
The paper aims to analyse the collaborations and connections between the arts of architecture, pa... more The paper aims to analyse the collaborations and connections between the arts of architecture, painting and sculpture, with a focus on their shared significances and in the contemporary artistic creations which propose the merging of artistic fields. After a historical contextualization, four levels of interactions are defined, each with their own specific conditions, theories and examples. Clarifying this, aims to allow new understandings to emerge, so that new potentialities can be explored and deeper significances be made relevant in the various artistic fields. Resumo (Portuguese) O presente artigo pretende analisar as colaborações e ligações entre as artes (arquitectura, pintura e escultura) observando pincipalmente os seus significados comuns e as novas dinâmicas contemporâneas que propoem uma dissolução dos limites establecidos pelos dominios de cada uma das artes. Depois de uma breve contextualização histórica, define-se quatro níveis de interacção, cada um com os suas próprios exemplos e teorias que o sustêm. Deste modo, pretende-se permitir a emergência de novos entendimentos, de modo a que novas potencialidades possam ser exploradas e os seus significados tornados mais relevantes nas diversas áreas artísticas.
Progress, understood as a growth or movement towards a goal or higher state of existence, is deep... more Progress, understood as a growth or movement towards a goal or higher state of existence, is deeply connected to the visual arts, including architecture. Art and architecture, responding to human needs, allows the progress of the world shape itself and then moves beyond it, promoting and accommodating new views, leading the way into new heights of the self and new depths of the spirit. The work analyses four inner progresses, embodied in the significance of contemporary creations. Firstly, a brief analysis of the progressive journey of the arts is presented, observing how its essence expanded and clarifying that contemporary art still strives to embody new ideas (beyond the depiction of the world) that relate to the self and its significant growths. Secondly, the significant inner progresses are presented, analysing both its aims, origins, and contemplating examples. These are: (1) the openness of existence and being, (2) the wholeness of the self, (3) connectivity and integration, and lastly (4) expansion and infinity. By connecting man to himself and to the world (cosmological and metaphysical dimensions), and by promoting an integrated open wholeness, art and architecture guide existence into new depths, defined not only by outward creations, but also and mostly, by the profound ideas that define our spirits.
The present research paper aims to be a reflexion and an observation of the way colour is used in... more The present research paper aims to be a reflexion and an observation of the way colour is used in contemporary art and architecture as a means to recreate the artist's and architect's desired significance. For this, colour is firstly understood as a vital essence, a 'significant language' associated to life itself; comparing different theories, colour is then further defined as a fundamental essence of art itself: a vital component that 'ensouls' forms, and that allows for the adequate means to express the inner significance of the artwork. In order for colour to reach these depths in art, the artistic creation is also comprehended and defined as a sort of alchemy: a means by which mere materials become gold (bearers of a deep spiritual significance). A creation, thus, be it an architectural space or a painting, is a visual representation of the artist's inner life, but in it's significance lies these 'gold' essences: the profound emotional and spiritual significances, of which colour is indissociable. In this way, the phenomenon of colour, the research paper corroborates, is not something that can be applied post-creation but an essential tool of the creative process itself, a fundamental aspect of the alchemical process of creation. But how are these ideas applied in contemporary art and architecture? Bringing together multiple examples of contemporary art and architecture (briefly analysing architectural spaces, paintings, and new sculptural spatial art forms), the research paper aims to further reflect and consider the different ways in which colour is used in the artistic phenomena in order to amplify and accommodate the artwork's emotional and spiritual significances. The examples selected, aim to present a broad analysis of each type of significance and how it is achieved creating categories for each. In architecture three categories are defined as follows: the 'white' approach (such as the spaces of John Pawson), the 'colour-material-space' approach (such as Peter Zumthor's atmospheres) and the 'colour-significance' approach, defined mainly by the cornerstone example of Luis Barragan. In painting, a two folded approach is defined: the use of colour as 'colour-subject' (with examples ranging from the impressionists to Anselm Kiefer), and 'colour-colour' (defined by colour being used for it's own sake). Lastly, the sculptural spatial artworks, analyses colour uses as 'colour-object' (Richard Serra and Anish Kapoor) and 'colour-dimension' with James Turrell. Throughout the various examples, it is made clear that the colours used are in perfect sync with the spiritual and emotional significance the work aims to transmit. The research paper thus, further shows that colour is a fundamental essence that allows for the artistic vision, with all it's significance, to be created and materialised. Colour is not only a component of art, but one of the main aspects that most embodies it's significance.
PORTUGUESE
O presente artigo pretende ser uma breve análise sobre a forma como a perspectiva inte... more PORTUGUESE
O presente artigo pretende ser uma breve análise sobre a forma como a perspectiva integra e torna possível conceitos intangíveis e imateriais, compreendendo-se como os dois mundos, reais e imaginários, co-existem e são materializados. Para isso, recorre-se a três casos de estudo: por um lado, o uso da perspectiva através das paisagens atmosféricas de J.M.W. Turner e Anselm Kiefer, e por outro, as criações espaciais arquitectónicas de M.C. Escher. Reflectindo-se sobre a representação do mundo incorpóreo que explora os conceitos da intemporalidade e do infinito, compreende-se, que para todos, a arte é uma complexa interligação de mundos tanto imaginados como vividos, que usa metáforas, mitologias, natureza, cor, poesia e luz, através de novas perspectivas, para retratar esse mundo intangível e significante do espírito. Assim, re-definindo perspectivas inovadoras, nós, os espectadores, voamos para além das dimensões corpóreas e mergulhamos em mundos que espelham o infinito do ser e do mundo.
ENGLISH
Perspective and geometry are fundamental aspects of all visual arts, used primarily as a way of mirroring an intrinsic natural order, balance and harmony of the world. Following the rules of nature and understanding the way we see and apprehend the world allows artists to manifest their own visions and ideals in unique and significant ways while, whilst maintaining a deep sense of universal harmony rooted in reality. The way by which these can be applied, not only as a way to represent reality but also to represent the wanderings of the intangible worlds of the imagination, are not always that clear. Thus, the present research paper aims to be a brief analysis and consideration on the ways by which perspective can combine with intangible ideals, shedding some light on how the two worlds really co-exist and materialise into a visual artwork. Analysing the use of perspective through the atmospheric landscapes of J.M.W. Turner and Anselm Kiefer, and through the architectural spatial creations of Escher, the research paper clarifies how perspective and geometry are used to portray and represent an intangible, immaterial and timeless world that explores the concept and idea of infinity. For the three artists, art is a multi-layered complex and significant creation, using metaphor, mythology, nature, colour, architecture, poetry, imagination and perspective, to portray an intangible world of the spirit and the infinity of the world as a symbol of it, through very concrete and physical ways. It is through the imagination of these artists, materialised through the use of perspective in new and challenging ways, that we, the viewers, become immersed in worlds that go beyond the two dimensions in which our bodies live.
Utopias create an imagined world of possibilities and allow for the visualization of impossibilit... more Utopias create an imagined world of possibilities and allow for the visualization of impossibilities; like a dream, they allow for the triggering of the imagination, opening spaces for new possibilities to emerge. At the heart of modernism, was a utopian desire to create a better world, and the belief that design, art and architecture could transform society and move towards better ideals. In contemporary art and architecture, this utopian desire still defines creation, however in a new and distinct way. Two case studies are presented exemplifying two types of contemporary utopia in art and in architecture. In architecture, with John Pawson, the research clarifies a type of utopian spiritual depuration through minimalism, creating a space that allows for a contemplative way of life. In art, with Anselm Kiefer, the work explores a metaphysical and cosmological utopian type of existence, allowing for a deeper connection with the primitive and natural order of the universe. The research shows that not only is utopia part of contemporary art and architecture, but that those utopian visions do in fact, to some extent, come alive in reality. In doing so, we become closer to More's utopian dream, where men are led by the soul and by spirituality.
O espaço poético, enquanto palco e plataforma existencial e espiritual, dotado de valores intrín... more O espaço poético, enquanto palco e plataforma existencial e espiritual, dotado de valores intrínsicos, significados e significantes é observado e descrito enquanto fenómeno artístico, através da obra de Tadao Ando. O espaço enquanto arte e veículo de conteúdo e expressão qualificada de uma sensibilidade artística, integra qualidades específicas que permitem uma integração do ser no mundo, produto de uma experiência multi-sensorial integrada e de outros factores que compreendem e definem a obra arquitectónica e artística de Tadao Ando. Pretende-se com este trabalho comunicar aspectos concernentes à compreensão do espaço arquitectónico enquanto elemento que transcende a funcionalidade e os aspectos materiais da sua existência, numa procura de universalidade, de harmonia e de integração do ser com a sua dimensão espiritual. O espaço de Tadao Ando é entendido como uma produção sensível e artística, que pretende evocar no ser habitante determinadas qualidades, valores e significados, pelo que os seus espaços arquitectónicos se assumem mais do que um produto de meras condições físicas, mas antes um espelho que completa as necessidades psicológicas, emocionais e espirituais do ser humano. É neste enquadramento que se qualifica, analisa e define uma experiência sensitiva espacial, simbólica, metafórica, poética e espiritual, com base em dinâmicas que definem e integram as complexidades e os mecanismos compositivos e percepcionados.
The present research paper aims at exploring the primacy of colour as a meaningful phenomenon th... more The present research paper aims at exploring the primacy of colour as a meaningful phenomenon that defines an emotional condition in art. For this, firstly an analyses of art as an 'emotional' and 'meaningful' condition is defined; also, a clarification of the idealizing nature of art is conducted as the main driving ideal inherent to the creative process. The research problem arises from the lack of a critical understanding of colour as significance and meaning in a work of art (be it in painting, or in the physical spaces of architecture), as well as understanding it as emotion that is felt by the artist (creation ideals) and by the experienced work that embodies those values, emotions and properties. The relevance of the research is thus to construct a clearer understanding of the problematic of colour within the creative process as a vital tool for composing and defining the emotional and meaningful experience. According to Birren (1970), colour aesthetics and colour studies may be approached from three directions: Impression (visually), Expression (emotionally), Construction (symbolically). (Birren 1970:13). The present research paper aims at establishing connections between the three realms of 'colour' understanding. For this, the methodology applied is an analysis of atmospheres observed in three main categories: the corporeal atmospheres, the immaterial atmospheres and the theory underlying both. The first defines physical colour spaces and atmospheres as lived architecture, the second analyzes colour focused on intangibility and abstracted atmospheres, through painting and thirdly, the underlying theory that sustains the creations. These three field atmospheres connect to each other in multiple ways, as a link between them is also a three part categorization: firstly, the primacy of colour, being colour the main tool for the creation of such works of art, the definition of its atmospheric condition; secondly, the consciousness and significance contained in the works, observed in a two sided coin, the construction and creative process where the artist defines the colour qualities, and the felt and lived end result, where the significance and the consciousness emerges in the user; and thirdly, the perceptual emotional fields defined and observed as a spiritual condition. The research will show that the common ground between them, allows for different mechanisms of significance and emotion to emerge according to the ways by which it is conceptualized and idealized. As an example of all spheres of interaction, the research work concludes with an analysis on the spiritual dimensions of the atmospheres of Luis Barragán, his underlying ideals and visions that sustained his creation principles of creating 'emotional' connections and spiritual atmospheres.
The focus of the present research is a search for the underlying form and colour principles that ... more The focus of the present research is a search for the underlying form and colour principles that define a harmonious atmosphere. As underlying driving questions it is possible to outline: how does geometry and colour define and sustain the values of the harmonious atmosphere?' The underlying search of the work, thus is a desire to understand the conscious and unconscious forms and colour harmonies that define, sustain and compose the atmospheric work of art and their connections to universal principles. For this, the research turns to William Turner's creations and artistic compositions; firstly understanding conceptually and secondly by analyzing fifteen of his paintings individually, so as to draw specific principles and criteria relating them to universal ideals. Turner's work was chosen for his use of the landscape in the communication of values and timeless principles; an example of the invisible hidden geometric orders and colour properties that define the artistic imagery and language. In other words, 'How does Turner use 'harmony' to define 'timelessness' and universal principles?' Be it as an overall image (the general) or in the detail, every work embodies an ''aura'' and that aura is studied and understood through the principles inherent to it, that define its 'formal' and 'intangible' essence. So too, with Turner, this research aims at uncovering. His work, relying in an inherent harmony and balance, through the use of composition, forms and colour, will be the focus of the present research, with the aim of uncovering the inherent properties and universal principles that underlie his complex atmospheric and harmonious creation.
Le Corbusier developed his own unique poetics of architecture, perceived and understood as an art... more Le Corbusier developed his own unique poetics of architecture, perceived and understood as an art. In La Ronchamp, due to his complete creative freedom, he found a space to express his most poetic and artistic views. The research paper thus analysis the Chapel as a case study, in order to clarify Corbusier's artistic and architectural vision, ideals and driving principles: drawing firstly from the architectural characteristics that define the space, secondly defining an integrated set of principles that conceptualize the architecture as an art, and lastly, an analysis of the particularities that compose the chapel as a 'total work of art', analyzing the union of the arts, both in concept, form and meaning, and in the overall context of Corbusier's unqiue theory. Thus, the research paper aims to understand and uncover how the poetics and emotional condition lives through Ronchamp: the meaning it encases, the artistic values is sustains and the timeless ways it recreates. The overall study has both practical and theoretical applications and implications for architects and artists with an interest in the integration of art and architecture, as well as the conceptual connections between the arts; a vital issue in the contemporary world for the definition of a more meaningful and sustainable environment.
Thesis Chapters by Sarah Frances Dias
The present research is an understanding of the phenomena of significance, as that which defines ... more The present research is an understanding of the phenomena of significance, as that which defines the work of art, observed through three different types of art: architecture, painting and sculpture. Comprehending architecture as an art, the connections between the arts, and the new paradigms that are emerging as a new art (that sees no distinction between the three arts), is a way of critically understanding and qualifying the artistic creation. The overall problem is defined by a lack of awareness of the real role of art and the general lack of significance in the contemporary world of both architecture and plastic arts, which have created a gap between the observer and the arts in general, leaving the deeper needs of existence completely unaddressed. The underlying question of the research, ‘What defines significance?’ is deeply connected to the main objective of the research: to perceive the phenomenon of ‘signification’, through the different fields of creations in a comparative and cross-disciplinary research (using architecture, painting and sculpture, their interdependences, connections and specific contributions towards the phenomena of signification), in order to clarify common grounds and define a series of properties, values, qualifiers and principles that sustain the meaningful creation and ground human existence. As for the methodology applied, it consists of a mixed method research with a dominance of qualitative methods: using the case study methodology as one of the main cores of the research. Re-considering significance, from both within (design practices) and from without (meaning the observation from the outside of the observed perceptual phenomena) the artistic creation, philosophically, practically and aesthetically allows for new connections, new critical assessments, new perceptions, notions and new methods to come into being, that allow us to define significance (and the artistic object) in a new light. The aim of the research is thus to clarify what the significance of the artistic object is, which, as the work will show, develops consciousness (in both the creator and the observer) and is in fact at the core of the creation of a more sustainable world that helps humanity evolve into new realms of existence: psychologically, emotionally and spiritually.
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BOOKS by Sarah Frances Dias
PAPERS by Sarah Frances Dias
O presente artigo pretende ser uma breve análise sobre a forma como a perspectiva integra e torna possível conceitos intangíveis e imateriais, compreendendo-se como os dois mundos, reais e imaginários, co-existem e são materializados. Para isso, recorre-se a três casos de estudo: por um lado, o uso da perspectiva através das paisagens atmosféricas de J.M.W. Turner e Anselm Kiefer, e por outro, as criações espaciais arquitectónicas de M.C. Escher. Reflectindo-se sobre a representação do mundo incorpóreo que explora os conceitos da intemporalidade e do infinito, compreende-se, que para todos, a arte é uma complexa interligação de mundos tanto imaginados como vividos, que usa metáforas, mitologias, natureza, cor, poesia e luz, através de novas perspectivas, para retratar esse mundo intangível e significante do espírito. Assim, re-definindo perspectivas inovadoras, nós, os espectadores, voamos para além das dimensões corpóreas e mergulhamos em mundos que espelham o infinito do ser e do mundo.
ENGLISH
Perspective and geometry are fundamental aspects of all visual arts, used primarily as a way of mirroring an intrinsic natural order, balance and harmony of the world. Following the rules of nature and understanding the way we see and apprehend the world allows artists to manifest their own visions and ideals in unique and significant ways while, whilst maintaining a deep sense of universal harmony rooted in reality. The way by which these can be applied, not only as a way to represent reality but also to represent the wanderings of the intangible worlds of the imagination, are not always that clear. Thus, the present research paper aims to be a brief analysis and consideration on the ways by which perspective can combine with intangible ideals, shedding some light on how the two worlds really co-exist and materialise into a visual artwork. Analysing the use of perspective through the atmospheric landscapes of J.M.W. Turner and Anselm Kiefer, and through the architectural spatial creations of Escher, the research paper clarifies how perspective and geometry are used to portray and represent an intangible, immaterial and timeless world that explores the concept and idea of infinity. For the three artists, art is a multi-layered complex and significant creation, using metaphor, mythology, nature, colour, architecture, poetry, imagination and perspective, to portray an intangible world of the spirit and the infinity of the world as a symbol of it, through very concrete and physical ways. It is through the imagination of these artists, materialised through the use of perspective in new and challenging ways, that we, the viewers, become immersed in worlds that go beyond the two dimensions in which our bodies live.
Thesis Chapters by Sarah Frances Dias
O presente artigo pretende ser uma breve análise sobre a forma como a perspectiva integra e torna possível conceitos intangíveis e imateriais, compreendendo-se como os dois mundos, reais e imaginários, co-existem e são materializados. Para isso, recorre-se a três casos de estudo: por um lado, o uso da perspectiva através das paisagens atmosféricas de J.M.W. Turner e Anselm Kiefer, e por outro, as criações espaciais arquitectónicas de M.C. Escher. Reflectindo-se sobre a representação do mundo incorpóreo que explora os conceitos da intemporalidade e do infinito, compreende-se, que para todos, a arte é uma complexa interligação de mundos tanto imaginados como vividos, que usa metáforas, mitologias, natureza, cor, poesia e luz, através de novas perspectivas, para retratar esse mundo intangível e significante do espírito. Assim, re-definindo perspectivas inovadoras, nós, os espectadores, voamos para além das dimensões corpóreas e mergulhamos em mundos que espelham o infinito do ser e do mundo.
ENGLISH
Perspective and geometry are fundamental aspects of all visual arts, used primarily as a way of mirroring an intrinsic natural order, balance and harmony of the world. Following the rules of nature and understanding the way we see and apprehend the world allows artists to manifest their own visions and ideals in unique and significant ways while, whilst maintaining a deep sense of universal harmony rooted in reality. The way by which these can be applied, not only as a way to represent reality but also to represent the wanderings of the intangible worlds of the imagination, are not always that clear. Thus, the present research paper aims to be a brief analysis and consideration on the ways by which perspective can combine with intangible ideals, shedding some light on how the two worlds really co-exist and materialise into a visual artwork. Analysing the use of perspective through the atmospheric landscapes of J.M.W. Turner and Anselm Kiefer, and through the architectural spatial creations of Escher, the research paper clarifies how perspective and geometry are used to portray and represent an intangible, immaterial and timeless world that explores the concept and idea of infinity. For the three artists, art is a multi-layered complex and significant creation, using metaphor, mythology, nature, colour, architecture, poetry, imagination and perspective, to portray an intangible world of the spirit and the infinity of the world as a symbol of it, through very concrete and physical ways. It is through the imagination of these artists, materialised through the use of perspective in new and challenging ways, that we, the viewers, become immersed in worlds that go beyond the two dimensions in which our bodies live.