Michel Devanakis Paints Extreme Foreshortening That Makes People Look Wrong On Purpose

The Cameroonian artist Michel Devanakis creates paintings where figures seem to be bending in on themselves. He relies on exaggerated foreshortening and stretched mirrors to make the human form feel slightly off — and that is the whole point. His work is gathered in a new survey of 28 paintings, and it uses distorted perspective to keep an image open-ended, refusing to resolve into a single reading.

Devanakis was born in Douala, Cameroon, to Greek parents. He studied Graphic Arts and Advertising in France before spending more than two decades working as a graphic designer and illustrator. His digital approach carried over into his painting practice: he often develops compositions digitally first, using collage and visual experimentation before translating them into oil paint. He then works alla prima, applying wet paint over wet paint, which keeps the physical qualities of the medium part of the finished piece.

The Threshold Between Two States

Devanakis’s paintings keep an image suspended long enough for its meaning to remain open rather than offering viewers a single interpretation. This approach recurs throughout his work, rooted in the idea of “threshold,” the unstable space between two states. His pictures explore boundaries between reality and symbolism, private identity and outside perception, belief and authority, or the visible and something less easily defined.

The conflict is part of the procedure by design. Devanakis describes his painting, “Tootsies,” where excessive foreshortening can turn deliberate anatomical accuracy into something that looks “wrong”, as our habitual expectations collide with the image. That moment of doubt is the whole point, and it means the viewer often has to take a little more time to truly look at it.

Paintings That Test What You See

A brief survey of the selection turns up several works that stand out. These pieces span landscapes, portraits, and abstract compositions alike.

“On The Way To Pindaya” is a landscape from a trip to Myanmar. Devanakis has never been to Myanmar himself, but a friend who went there 4 or 5 years ago sent him the source picture. He did not like some elements of the photograph, so he removed them and painted about a third of the scene from imagination, trying to be true to his own experience of Asia.

The idea for “The Edge” came unexpectedly, and it demanded immediate attention. Devanakis was midway through another painting when this concept arrived, insisting it was more important and must be finished at once. He resisted, but the idea would not let go. Many possible readings exist for the piece, including the perilous course humanity appears to have taken in recent years, from epidemics to threats of conflict, natural disasters and social unrest.

Devanakis stumbled upon another reading while writing the text: a passage from the Hindu Upanishads says “Stepping on the razor’s edge is as difficult as crossing the path that leads to Salvation.” The Upanishads are the philosophical-religious texts of Hinduism, also known as Sanatan Dharma, meaning “Eternal Order” or “Eternal Path.” Devanakis thinks this adds an additional dimension to the concept, and he notes that the painting imposed itself out of nowhere — the Hinduist text that suddenly appeared to him at the very end may not be just a coincidence.

Everland and the Soul of Michael Jackson

Beyond is the series that gives “Everland” its standing, and it treats Michael Jackson as a figure of sorrow rather than fame or dispute. The piece does not focus on the public image or the scandal; instead, it is a portrait of the man as a sensitive, isolated spirit. The setting is a realm beyond time, judgment, and noise — a place where innocence and sensitivity are given room to exist.

The painting “Leave Your Prayer After The Tone” is a humorous take on technology taking the place of faith. In a world of cheap distractions, “fast-food prophets” and poorly informed influencers, technology has become the new God. The idea came to Devanakis while he was scrolling through apps for his phone and stumbled upon a few Prayer apps. It is not a critique of any religion, but rather a humorous statement on how people view faith today.

Genesis, Freedom and the Meaning of Reality

“Genesis” is also part of the Beyond series. Some works arrive like lightning. Others unfold slowly, as if waiting to be born. This painting is Devanakis’ take on creation, not as chaos or command, but as harmony, rhythm, and breath. At its center, Vishnu holds a golden thread that passes through every gesture, binding thought and form together.

“Freedom” is a statement about the nature of reality. Devanakis firmly believes that Reality is what YOU make of it. You can create your own or choose to read all the trash and ugly news that are fed to you.

A Career Shaped by Digital Tools

Before deciding to focus entirely on painting in 2013, the artist spent more than two decades in France as a graphic designer and illustrator after studying Graphic Arts and Advertising. Even since that change, his earlier work with digital tools has continued to shape how he puts together his pictures. He now lives and works in Marathon, Greece.

He applies collage and visual experimentation as part of his working method, testing his ideas before he moves to oil paint. The alla prima technique comes next, with wet paint applied over wet paint, leaving the physical qualities of the medium visible in the finished work.

What Holds the Eye

A second look reveals the worth of these paintings. Faces are rendered with care, bodies carry weight, and small details call for closer attention. Yet spending a little longer with them often makes things less simple. Perspectives stretch, reflections complicate the scene, compositions behave unexpectedly, and familiar subjects begin to feel slightly uncanny.

The real art lies in that pause. Devanakis asks the viewer to linger and look once more, to give the picture room before settling on a reading. That point where one state gives way to the next isn’t a fixed spot — it’s a space that keeps drifting, and the painting itself keeps that strain alive.

A Survey Worth Your Time

Devanakis’ survey gives viewers a single place to take in his full range of work. It demonstrates his ability to shift between distinct artistic realms, from the digital experimentation that tests ideas, to alla prima painting where the medium comes to the surface, to the extreme perspective that renders the human figure slightly off. It also covers the variety of subjects he addresses, including imaginary landscapes of Myanmar and satirical examinations of modern religion.

The paintings are playful, strange, and inviting.

The figurative painter Devanakis has made his career out of pushing the boundaries of what a painted image can accomplish. A close look at his work is what it takes to appreciate it. The survey offers a fitting point of entry.

Source material: “28 Paintings By Michel Devanakis Where Extreme Perspective Completely Transforms The Human Form,” Bored Panda.

contemporary art · figurative painting · Michel Devanakis · oil painting · perspective