During 1990–91, while living in Whanganui, Williams worked on techniques for creating the illusion of physical texture on a flat, painted surface.
Eventually, using a thin film of paint and creating fine shifts in tone and colour, he achieved an almost photographic rendering of effects of light and shadow.
The series evolved as a number of distinct formats or groups, each based on a simple, geometric structure.
The paintings are primarily studies in perception and light.
Williams has been likened to a “magician” because his paintings generate responses of surprise and wonder, and a degree of mystery surrounds his technique.
The illusionary paintings are considered an original achievement, without obvious precedent in the history of art internationally.
They were first exhibited at Gow Langsford Gallery in March 1992, following Williams’ return to Auckland the previous year.

The illusionary paintings are representational in the manner of the Old Masters, and can thus be described accurately as trompe l'oeil works, but they represent abstract forms and ambiguous phenomena.
Williams has described them as “at once both totally abstract and as representational as you can get.”
According to curator Anna-Marie White, Williams is significant because “he created a new direction within abstract painting while simultaneously challenging the very nature of abstraction as a non-representational art form.”
Important examples of the illusionary paintings are Where Corals Lie (1994, Rutherford Collection) and Precept (Gold) (2005, private collection).

The illusionary paintings draw attention to perception itself, and encourage critical reflection on the relationship between what we see and what we believe we see.
During 1990–91, while living in Whanganui, Williams worked on techniques for creating the illusion of physical texture on a flat, painted surface. Eventually, using a thin film of paint and creating fine shifts in tone and colour, he achieved an almost photographic rendering of effects of light and shadow. The series evolved as a number of distinct formats or groups, each based on a simple, geometric structure. The paintings are primarily studies in perception and light. Williams has been likened to a “magician” because his paintings generate responses of surprise and wonder, and a degree of mystery surrounds his technique. The illusionary paintings are considered an original achievement, without obvious precedent in the history of art internationally. They were first exhibited at Gow Langsford Gallery in March 1992, following Williams’ return to Auckland the previous year.
The illusionary paintings are representational in the manner of the Old Masters, and can thus be described accurately as trompe l'oeil works, but they represent abstract forms and ambiguous phenomena. Williams has described them as “at once both totally abstract and as representational as you can get.” According to curator Anna-Marie White, Williams is significant because “he created a new direction within abstract painting while simultaneously challenging the very nature of abstraction as a non-representational art form.” Important examples of the illusionary paintings are Where Corals Lie (1994, Rutherford Collection) and Precept (Gold) (2005, private collection).
The illusionary paintings draw attention to perception itself, and encourage critical reflection on the relationship between what we see and what we believe we see.
Mervyn Williams (artist)