Description
The concept of "flatness" in art, particularly in the context of flat art and digital art, raises interesting questions about the nature of representation, perception and even human experience.
In flat art, the two-dimensionality of the medium can be seen as a deliberate choice, a rejection of the illusion of depth and volume that has characterized Western art since the Renaissance. This rejection can be seen as a commentary on the superficiality of modern life, where surface level is often favored over depth and substance.
In digital art, the notion of flatness takes on another dimension. The screen, as a medium, is inherently flat, and yet it can create the illusion of depth and dimensionality through clever use of lighting, shadows, and other visual effects. This tension between the flatness of the screen and the illusion of depth creates a feeling of disorientation, the feeling that our perceptions are being manipulated and challenged.
In contemporary art, the concept of flatness has been explored by artists such as Jeff Koons, Takashi Murakami and Richard Prince, all of whom have used flat, two-dimensional images to comment on the superficiality of modern life. Their work often blurs the lines between high and low culture, challenging our perceptions of what is real and what is simulated.
Philosophically, the concept of flatness can be seen as a reflection of the human psyche. The French philosopher Jean Baudrillard, in his work “Simulacres and Simulation” (1981), argued that our postmodern society is characterized by the proliferation of simulations and hyperreality, where the distinction between reality and simulation becomes increasingly blurred. In this sense, flatness can be seen as a manifestation of our own psychological flatness, where we are unable to distinguish between the surface level and the deeper, more complex aspects of our own minds.
Furthermore, the concept of flatness can be seen as a reflection of our own psychological fragility. The psychoanalyst Jacques Lacan, in his work “The Mirror Stage” (1949), argued that our sense of self is formed through the mirror stage, where we perceive ourselves as a unified and coherent whole. However, this sense of self is ultimately an illusion, and our true self is fragmented and multifaceted. Flatness can be seen as a manifestation of this fragmentation, where our complex, three-dimensional self is reduced to a series of flat, two-dimensional reflections.
the concept of flatness can be seen as a reflection of our own existence. Are we not, too, flat and superficial in our own way? Are we not presenting a superficial version of ourselves to the world, while hiding our true depths and complexities? The flatness of art can be seen as a commentary on the human condition, a reminder that we are all multifaceted and multidimensional, but often reduced to a single flat dimension...
3840 x 2160 / mp4 / 55,9 Mo / 45 s / 12 frames
1/1 collection 20/30 #FEPUM « Fix Eye Perpetual Uncontrolled Movement»
a subrealist reread based on the masterpiece :
Spring Evening - Arnold Böcklin - 1879
on view at :
Museum of Fine Arts, Budapest, Hongrie