As suggested at the beginning of this paper my background in mechanical engineering, i.e. a combination of applied mathematics and representational techniques of objects, helped me to progressively expand my early ludic interest in concealed elements in images, with effect or not, and to start creating strange transformations of concepts that eventually became an important part of my present artistic activity. A number of previous instances in my work related to these transgressions sometimes beyond reality which have been developed in previous Bridges conferences, as they contain mathematical aspects, which are often geometrical.

This year’s contribution consists of a quite detailed report in the sense of what I like to call 'epistemology of art' which emphasises the role of serendipity in the creative process; it analyses the successive stages of the genesis of a painting outgrowing suddenly, as I found out, the Necker Cube visual illusion. This work eventually spawned a pair of bas-relief bronze castings that unequivocally established the trick buried in the painting. Along the way I shed some light on ancillary previous works that already stemmed from the same phenomenon. The printed text is illustrated with a large number of b&w images which in the appended on-line color version can readily be enlarged for a crisp viewing.

References: As I don't have an Internet site, for those participants interested in my previous work (some in collaboration with friends, also, as I'm a member of a local Flemish art collective 'RAM-8 Groep' who have produced collaborative works for the 7 last Bridges conferences) please let me suggest that you check out the relevant information in the large Bridges on-line vault which contains many documents (in Proceedings and/or in Galleries) from 2003 (but not in 2004, 2004 and 2005) by searching urls and images for ' "samuel verbiese" bridges.org' and ' "RAM-8 groep" '. Discussions welcome!