It is picture of 'photographs with no perspective',and as such it is of particular interest. It shows a reality which cannot beregistered by a single lens, or, indeed, seen by the human eye. Instead reality is registered, or scanned, by many lenses - as if seen through one enormous, flat lens. This eliminates the 'vanishing point', and gives that peculiar fullness we normally associate with painting. It is supposed to me quite large - 86cm x 56cm plus a border of 8cm all round.

The elimination of perspective means of course that far away things seem
equally as near as near things. Also collapses distance...

A total flattening would create a cold, architectural image, and I love the qualities of the edges of things which give us so strongly the feeling that something is real.

I have some very interesting references to the rejection of single viewpoint perspective in Chinese painting. Shen Kua (11th century), for example, criticised Li Chen (10th) for controlling the audiences point of view too much and "failing to take the larger view of things". But the strongest attack on linear perspective I know comes from Pavel Florensky (1919), who describes it as "a mechanism for the elimination of reality".