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Fluidism Art – From Traditional To Transcendental Action Painting
A new kind of art.
The term “Fluidism” can be used to label a distinctive type of art painting in which both the substrate and the subject are the same. “Substrate” means the actual material from which the painting is constructed (e.g., paint). “Subject” means the intellectual motivation in which the painting develops (meaning a symbolic meaning or purpose).
In fluidism art, the substrate (meaning what the painting is made of) and the subject (i.e., what the painting is about) are inseparable. The substrate is the subject and the subject is the substrate. The visual and verbal appeal of a fluid extends directly from the physical, chemical, and dynamic properties of the fluid in motion. In fluidism, both the perception and the attraction of the concept of fluid interact to create profound enlightenment.
Thus, Fluidism painting is the act of mixing and preparing real liquids to explore and present dynamic patterns of fluids as a rare art form.
The primary source of inspiration and wisdom
Throughout history, many artists have engaged in creative activities that fit the “fluidism” brand. For example, more than 2,000 years ago, the Shinto priest of ancient China created sacred art by dropping ink into a pond and transferring the resulting collection pattern to rice paper. Ancient Japanese artists during the 12th century refined this drop-down style into what was later officially classified as suminagashi, meaning “floating ink”. Artisans in the Ottoman Empire during the fifteenth century developed a closely related painting style called “ebru”, meaning “cloud art”.
In modern times, a technique known as “marbling” came into fashion in the West, which later declined and entered into periodic fashion. Closer to the present time, as the physics of liquid dynamics has evolved, many science students have discovered the beauty of this physics, causing some scientific minds to turn their primary interest to art. Of liquid dynamics. The scientist who turned the artist, for example, Chris Parks, originally studied engineering at Imperial College London.
Most of the religions of the world seem to always have a close relationship with the fluid that operates in line with artistic and scientific interests. The idea that life and reality come from fluids, in fact, seems to pervade the various beliefs of the world, from ancient Egyptian mythology to the story of modern Judeo-Christian creation.
While selected artists throughout history have found great inspiration in liquids, and while modern science has made extensive use of dynamic concepts, almost all religions have regarded liquids as their origin and basis. The foundation of truth as we know it.
Modern astronauts play with water in the weightlessness of space. Contemporary artist playing with liquid paint in low-gravity conditions of parabolic flight Don Petit was an astronaut and Frank Pietronigro was an artist. Both metaphysics and physics now respect fluids in their own unique way.
So a special word “Fluid”, Seems reasonable to help unite the creative interests of this pervasive people.
Cross-border action drawing
American artist Jackson Pollock (1912-1956) can best be considered a top fluidism artist. Art critics of his day called him an “abstract performer” or, more specifically, a “watercolor artist” or “action artist.” However, Pollock may have clearly understood that he had no intention of revealing anything. Instead, he is a self-expression, both in content and in action, without any formal intent. Pollock realized that spontaneous action could lead to a satisfying pattern. His dry painting specimens were once jammed of his liquid activity. Pollock is therefore an extension of the active flow of his chosen substrate (e.g. paint). He was able to list residual samples of his activity in the original paint container because these samples were stable while still wet. The dry Pollock liquid sample is almost identical to its wet counterpart.
The advent and advancement of photography has clearly shown that some liquid samples cannot dry out in their original substrate. These fluid samples are either too temporary or they are damaged by drying. On the other hand, visually attractive time, some of the wet flow can not be stored in the substrate in which they emerge. For example, bubbles appear. The rapidly leaking fluid moves from the air back into the mass where it breaks down. A certain bump or rupture of the liquid layer disappears before the drying mechanism can maintain those patterns. Clearly the idea of “Painting” Stretch beyond the bottom layer of dry painted artifacts.
Photography represents painting or can be an activity that some patterns can not capture unless an artist is able to go through the means by which those patterns originated. Thus, a photographic artist can capture the impression of a bubble before the bubble appears. An artist can almost freeze a flying liquid sheet before it falls back into its mother pool. Photographers can withstand particularly attractive color collisions or specific collisions of color groups before they are mixed into a uniform solution. . Patterns that were once invisible due to the speed of certain actions can now be seen by the photographer’s ability to stop the camera action. Photography creates a class of action drawings that go against the traditional static definition of the word “painting”.
Later, Fluidism evolved from various traditions involving the preparation of wet fluids and allowing these fluids to dry. Fluidism has evolved into the modern search of fluid photography, which is prepared while they are still wet. Traditionally, only dry remnants of a stable wet pattern can be artifacts. Now a virtual dry residue (e.g. photo) of the pattern is impossible and drying is possible. These are “cross-border action drawings” – a deep extension of the basic concept of “painting”.
Copyright (c) 2011 Robert G. Kerndle.
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