Combining sculpture, various types of painting, and construction in an architectural context. Created by Tristan Meinecke in 1952. He was trying to solve the problem of "movement" apparently with a hammer.
John Corbett: "One of the innovative aspects of the split-level is it had a solution to a basic problem, which had to do with how you create a sense of depth in a painting without resorting to conventional perspective techniques. How could you have a painting that felt like there was a sense of dimension at least in a cubist way? Split-level introduces literal dimensionality to paintings ... They have a real sense of depth; you can look through it."
Tristan Meinecke: "Split-level started in the ’50s. I threw a hammer at a painting that I didn’t like. Then I put another painting on it, through which I gained a sense of shape and movement. You see the painting, and you see how it moves through space."