In his photos of warehouses and offices we have an immediate visual interpretation .Inside these places, often empty and falling to pieces, semi abandoned and half demolished ,there is something at the same time, that radically transforms them. It is as if these buildings were the frames of magnificent paintings, with colourful abstract and geometrical compositions., or writing and lines which appear suspended in mid air. Observing carefully these colourful and seductive images ,however, you realise that they haven’t been added but are part of the existing space. Rousse was able, thanks to his three dimensional work, to transform places on the verge of demolition with colour so as to create perfect geometrical shapes, imaginary monuments, brightly coloured compositions, but the revival was only for the benefit of the photographs. The paintings that appear in the work of Georges Roussse are nothing but “back to front” anamorphism as the only point of view is that of the photographer. If we look at one of the most famous paintings with an anamorphic perspective, Hans Holbein’s “The Ambassadors” you can see that the work of art was made from two different and irreconcilable positions .Seen from the front, the painting represents extreme realism .Suspended diagonally ,on the floor another figure appears: a mysterious stain on a crunched up piece of paper .To enable the observer to interpret this figure they have to move outside of the centre .This lateral position, reveals the secret, it shows a skull following the rules of anamorphism ,as it is only decipherable through foreshortening .

In Rousse’s work the opposite happens, the wonder of anamorphism explains all its illusory power only in front of the photograph , who witnesses something other than what the human eye sees. Russes work distinguishes itself ,through showing strips of paint untidily placed on the walls and columns of the buildings photographed.

With his work comprising photographs ,architecture, paintings, design and sculpture Rousse , whose major works can be found in the main European and American collections, created hybrid and paradoxical works , where real and virtual images weave together unstably . Painting, once considered one of the everlasting arts, becomes an instrument that gives life to an uncertain and illusory set only for a photo shoot. Architecture becomes a background that you can not experience, which makes you want to discover its visual tricks, instead the image paralyzes us in the only point chosen by the author .Instead his photography is used exclusively in an orthodox way to witness only what he sees , but not that , what the human eye sees , subject to binocular vision and testing space.

Instead of putting doubt into the objectivity of the perspective in favour of a vision that permits flashes of the hidden side and invisible to the world his perfect back to front anamorphism ,limits itself to showing itself as a mirage ,as bait to capture a glance and leave it suspended between reality and fantasy. On one hand his images show a type of trompe-l’oeil ,like a veil that just represents a veil as an illusory support. Whereas on the other hand ,photography confirms its ambiguity , that what we see is real , because we saw it in front of the lens . So the glance of the observer enters a sort of paradoxical short-circuit, that leans our visual perceptions subtlety into an abyss .What remains certain are that Rousse’s photographic and architectural paintings, drag the observer into a fascinating and enigmatic slide ,capable of fulfilling an artist’s dreams and making us dream.