This essay challenges established perspectives in art through radical readings of perception – from the classical subject-object dichotomy to the dominance of central perspective, most celebrated during the Renaissance, where the human gaze claims possession of art. Early on, it interrogates the nature of visible reality and the conditions that can disrupt its coherence. The intention of the text was not to evaluate the translation between internal and external life and eliminate the role of the subject in making, but to reflect on its nature in art. Drawing on Pavel Florenskij's Russian Orthodox theories, the essay proposes a notion of symbolic transparency. Criticizing basic perceptual factors such as the fact that humans never see from one direction as two separate holes form the foundation of perception, the idea of a single real image is criticized, and instead Lacanian ideas of truth, truth as fiction and fiction as truth are presented. The text addresses the symbol, the descent, as a perspectivist idea. And with that paragraph, it introduces thoughts on communication and language with a semiotic element. The essay follows through some of my processes. This is accompanied by criticism and love for those who have worked in the past, respecting the Philosophy of Paradoxes (Florenskij), a basic approach to the essay is to let it appear as a mirror or more like shards. It was necessary to work with the text as a complementary layer, as a step in or a step out, and not from a preconceived idea. Who I think I am or what my art is for example. Instead, the essay emerges with a focus on experience and phenomena.