Since one cannot create 'depth' by carving a hole in the picture, and since one should not attempt to create the illusion of depth by tonal gradation, depth as a plastic reality must be two dimensions in a formal sense as well in the sense of color. 'Depth' is not created on a flat surface as an illusion, but as a plastic reality. The nature of the picture plane makes it possible to achieve depth without destroying the two-dimensional essence of the picture plane. .A plane is a fragment in the architecture of space. When a number of planes are opposed one to another, a spatial effect results. A plane functions in the same manner as the walls of a building.. .Planes organized within a picture create the pictorial space of its composition.. .The old masters were plane-consciousness. This makes their pictures restful as well as vital...

Depth, in a pictorial, plastic sense, is not created by the arrangement of objects one after another toward a vanishing point, in the sense of the Renaissance perspective, but on the contrary (and in absolute denial of this doctrine) by the creation of forces in the sense of push and pull. Nor is depth created by tonal gradation (another doctrine of the academician which, at its culmination, degraded the use of color to a mere function of expressing dark and light).

It is rarely a mysterious technique that drives us to the top, but rather a profound mastery of what may well be a basic skill set. Depth beats breadth any day of the week, because it opens a channel for the intangible, unconscious, creative components of our hidden potential.

What I need is perspective. The illusion of depth, created by a frame, the arrangement of shapes on a flat surface. Perspective is necessary. Otherwise there are only two dimensions. Otherwise you live with your face squashed up against a wall, everything a huge foreground, of details, close-ups, hairs, the weave of the bedsheet, the molecules of the face. Your own skin like a map, a diagram of futility, criscrossed with tiny roads that lead nowhere. Otherwise you live in the moment. Which is not where I want to be.

if you can bring her depth when she is superficial,

At some point we must plunge in to discover a greater expanse; yet when this broader horizon does appear, a new depth will open up at our point of entry.

Trust the exponential. Flat looking backwards, vertical looking forwards.

...there is another kind of perspective that is of great importance in picture-making. This is known as aerial perspective, and this kind of perspective imparts "atmosphere" and depth to a picture, and gives a suggestion of space and distance in an outdoor view.

A little thought, however, will show that both aerial and linear perspective play as important a part in the heavens as on the earth beneath.

It's harder to write in the third person but the advantage is you move around better.

In short, there can be different perspectives, broader or narrower, dealing with particular aspects of people - the biological, psychodynamic, societal, and so on. These perspectives, however are of limited scope and usefulness, although each serves a purpose. Single perspectives do not present the complete view of human beings and do not tell the whole truth about them. Each perspective abstracts certain aspects of the whole person. Each perspective complements one another without exhausting the totality of knowledge about the full meaning of human existence.

The new vision.. ..does not proceed from a fixed point. Its viewpoint is everywhere, and not limited to any one position [in space]. Nor is it bound by space or time (in accordance with the theory of relativity) [of Einstein ]. In practice, the viewpoint is in front of the plane.. .Thus this new vision sees architecture as a multiplicity of planes; again flat. This multiplicity composes itself (in an abstract sense) into a flat image [in contrast to Theo van Doesburg who emphasized the dynamic position of the viewer – a central idea of Futurism in 1919].

Depth answers only to depth .

In the realm of blue air more than elsewhere, we feel that the world may be permeated by the most indeterminate reverie. This is when reverie really has depth. The blue sky opens up in depth beneath the dream. Then dreams are not limited to one-dimensional images. Paradoxically, the aerial dream soon has only a depth dimension… The world is then truly beyond the unsilvered mirror. There is an imaginary beyond, a pure beyond, open without a within. First there is nothing, then there is a deep nothing, then there is blue