Sure, I sometimes play with a canvas that refuses to stay flat, like a double‑back in paint. I lace a faint line of neon that glints only under the wrong light and then erase it with a soft brush so the viewer thinks it’s gone, only to reveal the hidden edge later. In my work, the go‑to illusion is that moment when the brushstroke pretends to be straight, then, under the right glare, turns into a subtle spiral—just enough to make the eye suspect reality itself.