The Museum of Illusions is not the typical museum one might expect. Interaction is the key, and everything comes to life in relation to the viewer. A sequence of rooms and installations guides the visitor through an illusory experience, where the mind is deceived, yet magic is simultaneously unveiled. The mechanisms behind the unconscious workings of our brains are carefully explained, enhancing the overall intrigue of the experience. Visitors have the opportunity to learn extensively about perspective, optical perception, the human brain, and science through unconventional exhibits, gaining insight into why our eyes perceive things our brains may not fully comprehend. Today, we visited the Rome location on the occasion of the unveiling of a new installation – a piece by the Spanish artist Sergi Cadenas. Like all illusions in the museum, this artwork challenges visual perception. As one walks from left to right, the viewer initially beholds the face of a charming blonde girl, but with movement, the figure magically transforms into a wolf. We interviewed Sergi Cadenas to understand how he creates these works and why he is so drawn to the art of illusion.
We are in the perfect context for your works, the Museum of Illusions. A place that stimulates reflection, revealing how our eyes and brains are imperfect. Your works are based precisely on this concept of illusion. What do you think of this place?
Being here at the Museum of Illusions and seeing all the installations and optical illusions available is a great inspiration for me. I think it’s fascinating for both children and adults because it gives us the opportunity to return to childhood. It can be said that all the work of artists is based on looking and observing. My work is about this, the optical illusion that my pieces create simply through the physical movement of the body.
What artwork are you presenting today? Does it have a specific meaning?
Today I am presenting “la Niña y el Lobo” (The Little Girl and the Wolf). My titles are very simple because I almost never put a title to my works and what they represent. I want people to see my painting and decide what to see and what not to see. It can be the innocence of a little girl contrasted with an unpeaceful animal, or a little girl turning into an animal. In Catalonia we have the children’s tale of Little Red Riding Hood, the wolf and the little girl, I think there is also in Italy. I think that’s why some people, looking at this painting, associate the lute with something bad. In my opinion the wolf has nothing to do with cruelty, to me it conveys tenderness, something tender like a little girl. More generally, I think what a work conveys depends a lot on the eyes looking at it, one way or another.
How do you create your works?
My works involve very delicate and meticulous work. To have one side different from the other, I create my works with relief paint paste. I use very small brushes. I paint one side first and then move on to paint the other side.
Let’s talk about your journey. How did you get here? Where did the need to create illusory works come from?
I could say that I thought a lot before choosing the artistic path to take, but there were actually many coincidences. It’s true that I have always painted on special and unusual supports. I liked painting iron, wood, glass. One day I noticed optical illusions present in colors, like those you can see in holograms. At that moment, I thought, “I have never seen this optical illusion painted.” I realize it’s not the same as holograms, but from that moment, I started thinking about how to recreate this technique in paintings, so you can see two images in one or three in one.
Your works encapsulate and communicate a dualism. Often, two opposing concepts or entities are present, engaging in a dialogue that creates contrast. Is this aspect important to you?
It is evident how dualism is important to me. I am fortunate to seek and see universal themes worldwide, such as aging, which is one of the subjects I paint the most, but this also happens with animals. The aspect of dualism is very important; it is the most important for me.
In your opinion, why does illusion fascinate the audience so much?
The topic of illusion is increasingly present. After all, we all look through a screen, and very often what we see are illusions. This is a very basic aspect, concepts invented for many years, and people continue to be deceived. It is true that, as an artist, creating these paintings is much easier. People interpret an image quickly; however, when creating an optical illusion, it interacts with the audience directly, and people are more captivated by a painting with this effect. I see this as a way to connect more with people. There is truly interaction. When there is no interaction, you may like the image, but I believe something is missing.
Sergi Cadenas’s three-dimensional artwork will also be exhibited at the Museum of Illusions in Milan, starting from January 26th.
