The fruits of more than 15 years of personal research, constant determination and sheer passion, this elaborate technique is now perfectly mastered, and today also manages to remain discreet. It offers anyone who wishes to experience it some breathtaking new sensations. It has become a permanent invitation to journey within unexplored worlds.
This form of painting suggests that the person looking at it changes from being just an "onlooker", who vaguely perceives it, to becoming a "watcher", who focuses his attention on it.
Well, there is just one little constraint: a pair of special glasses with two non-corrective lenses, a red one and a green one, have to be worn in order to be swept away by the magic of binocular vision.
For the painter himself, the constraints and technical difficulties are of another kind: the main one being the superimposition of the two paintings on the same canvas: one for the "red eye", the other one for the "green eye". Then the non-natural colours, or "denatured colours", must somehow appear and disappear according to the watcher's eye.
The first step consists of the creation of a stereoscopic design on a canvas. The obligatory respect for binocular gaps makes the drawing of lines far more complex.
At this stage of the creation it is almost impossible to imagine that the gracefulness inherent in any of the painter's work will ever arise from this actual muddle of lines...And yet...
The choice of a finalised and perfect palette is essential to give people the chance to experience the improbable and exquisite encounter.
All the shades of red, blue and green colours will express actual depth, while the yellow and greys, so subtle, will act as background colours.
As far as the main subject or the different subjects are concerned, any colour can be used after they have been decided upon. The only important thing is to succeed in marrying them together, either for love or convenience, as long as they are in complete harmony.
The blacks and the whites stay "value colours", or "non-colour shades": integrating them into this type of painting, if not totally impossible, remains uncertain and in any case extremely difficult.
After the palette has been carefully worked out, the artist's eyes go into action. Like the "watcher", he'll also wear glasses with green and red filters to enter his world, where principles and colours have changed, modifying the laws of weightlessness as a result.
There's no place for probability anymore... For the painter as well as later for the "watcher", it's the signal of departure for a journey into a mysterious world full of unknown sensations.
At that point technique becomes secondary and makes itself discreet. Pleasure alone, in all its forms, is important...
From time immemorial, people have tried to take us to some unknown lands, to their own worlds or elsewhere, through their talent alone. Dimitri's wish is to take us, today and tomorrow, to a timeless world without any boundaries.
The challenge he wants us to accept is to make the most of our eyes, so as to go beyond a flat surface towards an interactive visual transfiguration.
Heir to artists from the Stone Age who conceived and performed the first stereoscopic drawings, Dimitri has painstakingly searched for the way to give his own creations the spatial dimension they have reached today.
Well, isn't the desire for "tranquInity", tranquillity and infinity, simply the inflexible will to look for the way of mixing the past and the future, so as to make sure that nothing ever comes to an end?
glasses : red on the right eye
Click on "Gallery" to see some of the different anaglyphs created by Dimitri.