Color

Van Gogh and the Path to Abstraction

Gianni Sarcone

In the painting La Maison Blanche, la Nuit (1890), Vincent van Gogh’s vivid brushstrokes, layered over background hues, give the artwork a surreal dimension. His late works are marked by these expressive strokes, almost like vectors of the soul, stirring and expanding the space within his compositions.

La Maison Blanche, la Nuit, 1890, Vincent van Gogh, in the Hermitage Museum.

Had Van Gogh shifted toward a greater focus on minimalist expression rather than detailed representation, his work might have evolved in a more abstract direction. This evolution could have shared similarities with pioneers like Kandinsky and Mondrian, particularly in their use of pure form and color. However, Van Gogh’s distinct style would have likely led him toward a more organic abstraction, where his vibrant palette could have become swirling, interlacing forms—creating a dynamic sense of color and movement that might have hinted at the future development of Abstract Expressionism.

Mystic Flying Bat

Gianni Sarcone

Mystic Flying Bat is a mixed-media artwork I created back in 2010. It was the starting point for a series of pieces in a similar style, some of which I screen-printed using different color palettes. With this work, I wanted to invite viewers to think about an intriguing question: What is movement?

What makes this kinoptic artwork special is the way it creates the illusion of motion. As you look at it, the black bat seems to flutter, expand, or shift. But here’s the fascinating part—if you stare at it long enough and then close your eyes, a white bat will appear in your mind!

Kinoptic designs, like this one, play with our perception, making still images feel alive. It’s all about the clever use of contrasting colors and the precise arrangement of shapes.

Curious about how to create something like this yourself? I’ve put together a tutorial you can check out.

If you’d like to own a print or canvas of Mystic Flying Bat, you can find them here.

Gliding Patterns: The Anomalous Motion Illusion

Gianni Sarcone

Let your gaze wander across the image below. Do the shapes in the first and third rows seem to subtly shift leftward, while the second and fourth rows appear to glide rightward?

© Gianni A. Sarcone, Gliding Patterns, 1999

Now, let your gaze wander across the image below. Do the concentric circles appear to subtly counter-rotate?

© Gianni A. Sarcone, Counter-Rotating Circles, 1999

Why do these static images appear to move? This perceptual phenomenon, known as “anomalous motion” or “peripheral drift illusion”, results from the interplay of color contrast, luminance, and eye movements. It occurs due to a sawtooth luminance grating in the visual periphery, where a sequence of contrasting colors transitions from light to dark. The speed of the perceived motion is influenced by the frequency of microsaccadic eye movements.

In the 1990s, I began creating many of these fascinating images, experimenting with patterns and contrasts to bring this mesmerizing effect to life.

Fine art prints and merchandise of these mesmerizing pieces are available in my online gallery—a perfect addition to any space!

Mesmerizing Color-Changing Squid

Gianni Sarcone

Squids are basically the chameleons of the sea, and their secret weapon? Chromatophores—tiny skin cells that let them pull off some mind-blowing color changes. Whether it’s blending into a coral reef or throwing out some serious “back off” vibes, these little guys do it all. Right now, though, this squid seems to be saying: “Hey genius, put me back in the water before you turn me into calamari!”

Chromatophores of the Squid: How Do They Work?
Chromatophores are pigment-containing cells found in the skin of squids and other cephalopods. These cells expand and contract to display different colors, allowing the squid to blend into its surroundings, communicate with others, or signal threats. They play a vital role in the squid’s survival.

The Red Wine Color Illusion

Gianni Sarcone

Does the color of wine change when poured into a glass?
Although it may appear darker, the red shade remains the same. This visual trick is a result of the Munker-White illusion—where our brain perceives colors differently depending on their surrounding context.

If you’re fascinated by puzzles like this, reach out to my syndication agent to feature them in your publication.

This op art piece is also available as prints and canvases in my online gallery.

The Red Mesh Ruse

Gianni Sarcone

With Christmas around the corner, mandarins and oranges start popping up everywhere. In supermarkets, you’ll often find oranges wrapped in red mesh bags. But that choice isn’t just for looks—it’s a clever sales trick.

Why red mesh? It’s a simple way to make oranges seem more appealing to our eyes and brains, even if the fruit is a bit lackluster. Scientists have studied this phenomenon, which they call the “Confetti illusion.” Arriving fashionably late to the scene, they discovered the visual effect caused by the red mesh bag. They’ve given it the grand name “perceptual ripening of oranges,” but let’s be real—it’s just color assimilation doing the work.

Color assimilation is when different hues blend in our perception, changing how we see things. In this case, the red mesh combines with the actual color of the fruit (fig. A), making the oranges look brighter and more appealing (fig. B)—a little trick on the eyes.

Scientists recently confirmed what artists and salespeople have known for centuries: color assimilation can shape how we see things, especially in shopping. The illusion works because most people trust what they see without taking a closer look. But once out of the red mesh, the oranges often aren’t as shiny or ripe as they first appeared.

Curious to learn more about how color influences perception? Check out my color research and visual experiments on my Behance page.

Triangles of Beauty

Gianni Sarcone

Introducing my latest creation, Triangles of Beauty—a minimalist mosaic that blends geometric precision with visual intrigue. This op art piece showcases a striking arrangement of triangular shapes in sepia tones, merging rich shades of brown and beige. The triangle, a timeless symbol, embodies the balance of masculine and feminine energies, forming a harmonious third element that transcends duality. It represents strength, unity, and the divine—a visual echo of the trinity, where individual components unite into something greater.

Step back and let the patterns unfold to reveal the depth within this thought-provoking piece.

This thought-provoking op art piece is available in my online galleries:

· Redbubble

· Fine Art America

Moona Lisa

Gianni Sarcone

In 1997, I remixed the Leonardo da Vinci’s famous painting Mona Lisa, into 142 perfectly spaced color beads placed at the intersections of an imaginary two-dimensional triangular network. Close up, the picture of the set of beads makes no sense, but if you see it from a distance you will perceive (or at least ‘guess’?) the portrait of Mona Lisa, the most famous Leonardo Da Vinci’s painting.

hidden mona lisa
Hidden Mona Lisa (1997), © Gianni A. Sarcone
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Globes within Spirals? (Optical Art Tutorial)

Gianni Sarcone
© Gianni A. Sarcone – redbubble.com

Are you seeing spirals? Look again, they’re actually concentric circles! This unique variation of the “Fraser spiral” plays tricks on your eyes by blending a regular line pattern (representing the circle’s circumference) with misaligned elements (the spheres with varying brightness).

Would you like to learn how to create this mesmerizing illusion? Follow my simple visual tutorial. If you have any ideas to further enhance this project, please don’t hesitate to reach out.

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“Infinity”, A Kaleidoscope of Squares

Gianni Sarcone

With this work, I aim to push geometry to its limits, transcending the confines of color. My goal is to showcase the creative potential of simple concentric squares as a medium for experimentation and the discovery of new op art patterns. By delving into this exploration, I strive to unveil captivating illusions of color and mesmerizing motion.


Draw a large and a small square with thick lines and center them (Fig. A). Next, blend the inner and outer squares in six steps to create a set of concentric squares. Reproduce the set to form a larger square pattern, as shown in Fig. B.

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