Description
Synthesis of a Conceptual Osmosis:
My approach with the piece "The Notion of Osmosis" (Xanthopsia Collection) goes beyond a reinterpretation of Van Gogh's "The Plain of Auvers." I transmute it into a philosophical and sensory experience. The heart of my concept is osmosis, not as a metaphor, but as a dynamic and living process. I establish a bridge between science, art, and philosophy, transforming the artwork-object into a work-process.
1. Osmosis as a Living Palimpsest
My conceptualization shifts from a static metaphor to an active process:
The Membrane (Van Gogh): Van Gogh's work is not a simple support; it is the semi-permeable membrane, possessing its own "osmotic pressure" (its history, its emotion, its technique).
The Solvent (The Artist/Viewer): As an artist, I arrive with my own concentration of meaning, my tools (digital, acrylic), and my filter (Xanthopsia). The viewer does the same.
The Process (The Artwork): The "notion of osmosis" is the act of diffusion. It is not a copy, but an interpenetration. The essence of Van Gogh (movement, tension) infiltrates my contemporary approach, while my gaze (digital, subrealist) infiltrates in turn.
This osmosis creates a conversation that is the central philosophical concept: creation is not ex nihilo, but a dynamic equilibrium with what precedes it.
2. Hybrid Alchemy: From Gesture to Screen
My technique is a direct reflection of this osmotic process, merging the tangible and the virtual:
Physical Strata (Acrylic): Gestural acrylic painting evokes abstract expressionism, an echo of Van Gogh's gesture, rooted in raw materials.
Photographic Strata (Capture): The act of photographing the canvas is the first transmutation from the physical to the digital.
Digital Strata (Painting and Animation): Here, the concept flourishes. Digital painting and minimalist stop-motion animation visualize the osmotic process. The jerky animation represents the cycle, time, and the construction of thought; a literal reinterpretation through the filter of digital and hybrid culture.
3. The Prism: Subrealist Abstraction and Xanthopsia
I propose a subrealism: a plunge beneath representation, neither purely abstract nor surreal.
The Underlying Layers: Subrealist abstraction aims to reveal the layers of Van Gogh's perception. My interpretation attempts to represent the psychological state, the tension that allowed the work to exist. This is not a truth, but my perspective.
Xanthopsia (Yellow Vision): This is my conceptual and emotional filter. If it was a symptom for Van Gogh, I transform it into a utopian act: the ability to "find positivity even in dark moments." It is a philosophical choice, a view through a transformative lens.
4. The Vector: Emotional Narrative Intelligence
This is the driving force that transforms the concept into a sensory experience. Emotional narrative intelligence allows the viewer to feel the work before understanding it. The viewer is invited to:
Experience the Duality: The tension between the physical acrylic and the digital animation, between the harmony of the plain and the vibration of the Xanthopsia.
Activating Memory: The recognition of Van Gogh acts as an emotional anchor.
Engaging Contemplation: The minimalist animation compels a meditative gaze. The viewer is not passive; they "infuse" their own time and attention into the artwork.
By activating their emotional intelligence, the artwork becomes a catalyst that generates meaning for the viewer. The story told is that of perception itself, co-constructed through emotional resonance.
Conclusion: Art as a Process of Meaning-Making
In summary, "Notion of Osmosis" is a contemplative allegory. It uses Van Gogh's legacy as a living membrane to explore the duality between permanence and flux, in a state of perpetual osmosis with the present.
My approach shifts art from the finished object to the production of meaning. The final artwork is the intellectual and emotional process that extends and culminates in the encounter with the viewer.