First of all, we asked Kurt to share how his work has influenced the evolution of street art globally.
Kurt wrote: “When I first introduced 3D pavement art in the 1980s, the form didn’t exist. It was born out of my desire to merge classical drawing with contemporary environments, using geometry and perspective to create immersive illusions. Over time, my work inspired a global movement.
Today, artists around the world employ anamorphic techniques in public spaces, advertising, and entertainment, engaging audiences in ways never before imagined. What was once a niche performance has now become an internationally recognized art form, influencing not only street art but digital media, architecture, and even theme park design.
The sheer scale of its adoption has been astonishing, though it’s still evolving in ways I never expected.”
As street art is constantly evolving, we asked Kurt what makes 3D pavement art unique in this movement.
“Most street art focuses on flat surfaces such as walls, facades, even traditional pavement murals. But 3D pavement art does something different: it transforms the ground beneath our feet into a theatrical space where illusion and reality merge. Unlike a mural, which the viewer observes passively, 3D pavement art requires participation. It invites the public to step inside the artwork, interact with it, and even become part of the illusion. It’s an art form that exists in direct dialogue with the viewer’s perspective, both physically and conceptually.
Unlike traditional graffiti, which often imposes itself onto an environment, 3D pavement art integrates with its surroundings and promotes public participation, changing how people experience a space” wrote Kurt.
Many street artists use their work to make statements on social or political issues. Therefore, we asked if Kurt sees his art as part of that, or if it focuses on different things.
“I’ve always seen my work as an exploration of visual storytelling rather than a vehicle for direct political or social commentary. My goal has been to reintroduce classical drawing principles to
contemporary audiences in an accessible, engaging way. That said, the very act of bringing classical artistry to the street can be seen as a statement in itself; a challenge to the modernist notion that traditional techniques have no place in contemporary culture.
I believe in reviving forgotten artistic knowledge, showing that mastery of form, proportion, and illusion still holds power in an age dominated by fleeting digital imagery. In that sense, my work does challenge cultural assumptions, but its message is more about artistic continuity than activism,” replied Kurt.
Kurt’s and other artists’ works in this list require both artistic skill and mathematical precision. In order to understand how they balance the two when creating a piece, we asked Kurt to share his approach.
“For me, geometry is not separate from art, it is the foundation of it. Classical artists understood that form and proportion were not arbitrary; they were deeply rooted in mathematical relationships.
My approach to 3D pavement art follows this tradition. I begin each piece with a geometric concept, constructing the spatial framework first, before designing the figurative elements and moving into the expressive elements of light, color, and composition. It’s a dialogue between intuition and calculation, where the mathematics must be precise enough to create the illusion but flexible enough to allow for artistic interpretation. The greatest challenge is not in the numbers, it’s in making the illusion feel effortless,” explained Kurt.
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As street art is becoming more mainstream, with brands and galleries embracing it, we were wondering if Kurt thinks it’s a good thing.
He replied: “The mainstreaming of street art is a double-edged sword. On one hand, it brings visibility and financial support to artists who might otherwise struggle to make a living. On the other, it risks commodifying an art form that thrives on spontaneity and direct public engagement. I have found that commissioned works are more effective venues than galleries. With 3D pavement art, I see the future heading in two directions: one toward digital reproduction, where images are printed rather than drawn, and another toward increasingly immersive, site-specific experiences.
Personally, I believe the strongest work will always be created by hand, in real time, as a performance that engages with both the artist and the audience. The challenge is ensuring that as the art form grows, it does not lose the sense of wonder and craftsmanship that makes it unique.”
Lastly, Kurt added: “Art is a universal language, but it is also an evolving one. The classical tradition is not a relic, it is a living, breathing creative process that can still be a foundation for new ideas.
I am currently writing a drawing instruction book on mastering classical drawing, as no book exists that describes the full creative process. I have worked for more than a decade on a full instructional book about artistic geometry, but it is an even more complex topic with profound philosophical and perceptual roots. I am also working on a more fun and accessible book about illusions.
My work has always been about bridging the past with the present, using the tools of classical drawing to create something fresh and unexpected. Whether on the street, in a gallery, or through new technologies, the power of perspective and illusion, both as artistic and intellectual topics, remains as vital as ever. I encourage anyone with an interest in drawing, illusion, or storytelling to explore this tradition, not just as a historical curiosity, but as a tool for seeing the world in new ways.”
As for Leon’s perspective, the artist shared how he feels about street art being temporary.
He wrote: “The temporary nature of street art strengthens its existence. Certainly, especially with my 3D anamorphic street paintings, which I often make with chalk, the work can be gone within 1 week. For me personally, that transience evokes gratitude for the creative process.”
We asked Leon to share what he thinks makes street art unique compared to traditional gallery or museum art.
“Regarding the making process, it gives me a feeling that you are making something in a more unknown environment or culture. The inspiration that comes from that is different from the inspiration you get when you work in the familiar environment from your own studio. And that also has an effect on the artwork. My street artwork is specifically suited to its environment and will not come into its own in any other environment. In order to make a proper connection between street art and a museum, the work will have to be made on-site,” wrote Leon.
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Over the years, street art has gained mainstream acceptance. Leon shared whether he thinks that this has changed its purpose or impact.
“The fact that the work has become more mainstream has its advantages and disadvantages. The advantage is the higher acceptance by the viewer and potential client. In any case, there is more color on the street and more artists get the chance to create work in public spaces. The disadvantage is that there are many organizations and companies that are only too happy to add their own input to the ideas of the artist, which brings street art to a form of applied art,” explained Leon.
As for the future of street art, Leon commented: “I am always combative that it is about art. It is the artist who decides. Art is subject to evolution and it is important that the arts is somewhat ahead of what is to come. I myself have been embracing the application of augmented reality for quite some time, which makes my art come to life even more.
Art should surprise, amaze, and inspire. If street art continues to do that in the future, it will grow much further than it already has.”
