Representational abstraction begins to be clarified when the viewer can mentally derive a real subject from a non-realistic artscape. The brain recognizes familiar elements in the abstraction that it links to particular memories of things, places or people it has come to know in our tangible reality.
This type of art is a midpoint on a long spectrum of opposing faces. On one side, you have the accuracy and details of hyper realism; photo realistic painting and sculpture that captures particles from reality inch per inch in a flurry of high definition elements. Hyper realism is a trend used by several American and European artists that look to create something with more than just a broad skill set. They seek a refinement in the craft unmatchable in terms of detailed impact. Most of their works are likened to captured scenes of the concrete world; raw images of what the eyes clearly see. Being almost without a hint or trace of elements from a purely man-made fantasy realm, these works are a true test of perfection to the most minute steps of inquiry.
On the other end of the spectrum, exist pure distortion and other abstractive genres such as non-representational abstraction, Dadaism, surrealism and many other similar kinds. Works from these genres specialize in deeper levels of emotive expression using elements never before seen in real life. Some styles bend the rule by exposing viewers to real life elements, but in such a way that their utility and meaning is virtually destroyed and reconstructed in the realm of the artwork. Pure distortion does not capture a scene from reality. It makes up its own scene. It sometimes makes up its own play; a new world where nothing is old, and all is unknown to the mind. The beauty of these artwork types can be found in the interpretation of the audience in deciphering the expressive powers of the artists.
The Moving Aesthetics of George Rickey
3 years ago