Sérgio Odeith, the well-known Portuguese artist known as Odeith, is back in the foreign media spotlight with a collection of three-dimensional mural works and optical illusions. Odeith's three-dimensional mural, created from an old bus in an abandoned space, uses perspective, shadow, and anamorphic technique to blur the boundary between the flat surface of the wall and a real object.
Anamorphic Technique and Odeith's Unique Works
In one of his anamorphic works, Odeith has depicted the figure of a reptile at the intersection of two wall surfaces; the precise combination of viewpoint and shading transforms the animal into a three-dimensional and living creature. Anamorphic refers to a type of imaging where the image is deliberately stretched, distorted, or rendered unnaturally on the painting surface; however, when viewed from a specific angle or point of view, the image appears correct and three-dimensional again.
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The Captivating Power of Odeith's Works
In Odeith's works, this technique is often combined with graffiti, perspective, and visual illusion. For example, an animal or character may be painted on the corner of two walls, the floor and a wall, or an irregular surface. From the front, the shape appears completely strange and elongated; however, from the right viewpoint, it suddenly seems as if the subject is truly emerging from the wall. The important point in anamorphic works is that the image is distorted from the outset so that it only takes on the correct and three-dimensional form from a specific angle.
Sérgio Odeith was born in 1976 in Damaia, Portugal, and entered this path as a teenager with spray paint and graffiti. He grew self-taught and became more seriously involved in graffiti from the 1990s. His international fame is mainly due to the anamorphic technique and the style known as "Sombre 3D," in which images are designed on corners and unusual surfaces to appear three-dimensional and completely real from a certain angle.
Recent foreign reports have focused primarily on Odeith's power to "deceive the eye"; that is, transforming walls, concrete, and dilapidated spaces into scenes that, from a distance, resemble real animals, vehicles, or structures. This continuity in producing striking works has kept his name recurring in recent international reports.
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