Intertwined with the regular cityscape scenarios, Belin unexpectedly reveals the (sur)reality check - murals realistically depicting the non-existent worlds. These false perspectives are painted using trompe-l'œil illusionary technique of three dimensional representation on a two dimensional surface. These surfaces play with our consciousness, puzzle our minds and our sense of what we embrace as real.
Historically, trompe-l'œil was used predominantly in sacred architecture, on the walls and ceilings of churches, portraying the outwardly space of Gods that humans can only see, but can not enter. Displacement of such representations from sacred spaces to the streets juxtaposes the vernacular with the monumental, and brings this outwardly sensation back to everyday life.
Beyond the triggering imagery, these walls reveal intimacy of human desires and open up to the world of fantasy. In a rigid world where we plan our cities based on strict rules, regulations, and limitations, they depict the desire for spaces that don’t need to follow any of these man made restrictions. They free us from ourselves. They show us the spaces we dream about, but are failing to realize.
If we listen carefully, these simulations are telling us about the human need for spatially manifested fantasy. What would happen if we would treat it like any other need- to have a place to sleep, wash or prepare food? How would our cities look like if we would create them with spaces liberated from our own norms?
