New Category Of Art: Fluidism
New Category Of Art: Fluidism: From Traditional To Transcendental Action Painting
The term “fluidism” can use to describe a special type of fine art painting where the topic and the substrate are one and the same. The actual material use to create a Joseph Blake Smith Arkansas is refer to as the “substrate” (i.e., the paint). “Subject” refers to the inspiration for thought behind a painting (i.e., the meaning, representation, or purpose).
The substrate (i.e., the material from which the painting is form) and the subject (i.e., the subject matter) are inseparable in Joseph Blake Smith Arkansas. Both the subject and the substrate are the same thing. Physical qualities, chemical traits, and dynamical patterns of fluids in motion directly contribute to their linguistic and aesthetic appeal.
The perceptual and intellectual appeal of fluids interact in fluidism art to offer profound illumination.
Therefore, Joseph Blake Smith Arkansas is the process of combining and modifying actual fluids in order to find, experience, and display fluid dynamic patterns as fleeting works of art. Let see about New Category Of Art: Fluidism
Primordial Source of Insight and Wisdom
Numerous artists have participated in creative endeavours that fall under the category of “fluidism” throughout history. For instance, Shinto priests in ancient China created sacred art more than 2000 years ago by pouring ink into ponds and applying the resulting concentric patterns to rice paper. During the eleventh century, ancient Japanese artists developed this ink-dropping technique into what is now properly refer to as suminagashi, which means “floating ink.”
In the West, the practise of “marbling” became popular in modern times before occasionally going out of style. More recently, as fluid dynamics physics developed, many science students came to appreciate its beauty, which led some scientifically inclined individuals to shift their major interests to the art of fluid dynamics. Chris Parks, a scientist who formerly study engineering at Imperial College, London, is one such scientist-turn-artist.
The majority of world faiths seem to have always shared an affinity for fluids with artistic and scientific pursuits. From modern Judeo-Christian creation myths to myths from ancient Egypt. The idea that life and reality emerged from fluids appears to be present in a wide range of global religions.
Almost all faiths regard fluid as the source and basis of existence as we know it, despite the fact that several artists throughout history have found great inspiration in fluids. That modern science has extensively used fluid dynamical principles.
Weightlessness of space
In the weightlessness of space, modern astronauts have experimented with fluid water. Modern artists have experimented with fluid paints in the low-gravity environment of parabolic flight. Frank Pietronigro is one such painter, while Don Petit is one such astronaut. Today, fluid is revered in both metaphysics and physics, each in its own unique way.
As a result, the use of the unique word “fluidism” to describe this pervasive, creative human passion seems justified.
Paintings of Transcendental Action
Jackson Pollock, an American painter who lived from 1912 to 1956, is perhaps best known as the founder of fluidism. He was refer as as a “abstract expressionist” or, more specifically, a “drip painter” or “action painter” by art reviewers of his time. However, Pollock was likely completely aware that he wasn’t expressing anything on purpose. Instead, he was the expression itself, including both its essence and action, without formally intending to be either. Pollock understood that impulsive behaviour may produce attractive patterns. His paint designs had dry up were frozen reflections of his early fluid activities. Thus, Pollock was a continuation of the active flow of his material of choice (i.e., paint). Due to the persistence of his action patterns in the original paint medium, he could record them.
The development of photography has made it abundantly evident that some fluid patterns are unable to dry on their original supports. Either these fluid patterns are too fleeting, or drying obliterates them. In other words, certain very beautiful wet flow moments cannot retain in the substrates from which they originate. For instance, a bubble pops. Splashing liquid quickly returns to the bulk from which it originated in the air. Before the physics of drying can even begin to hold those patterns in place, a specific collision or striation of liquid layers fades. It is obvious that “painting” refers to more than just the surface of a dry painted object.
Photography has demonstrated that, unless an artist transcends the medium in which those patterns originate, painting is, or can be, an action where some patterns cannot represent. Thus, a photographer can catch an impression of a bubble before it bursts. Before a flying sheet of liquid smashes back into its original pool, a photographer can virtually freeze it. Before they dissolve into a homogeneous solution, a photographer can freeze a particularly attractive colour collision or a specific striation of colourful liquid bands. The stop-action capability of the photographer’s camera can now make patterns visible that were previously undetectable due to the rapidity of some actions. A kind of action paintings defy the conventional static description are made possible through photography.
Therefore, fluidism has developed from diverse traditions that include working with wet substances and letting them dry. The modern activity of photographing alter liquids. They are still wet has evolve from fluidism. Only stable wet pattern traces have dry up historically may consider artifacts. Now it is possible to create virtual dried residues (i.e., images) of transient, improbable patterns. These “transcendental action paintings” represent significant advancements of the definition of “painting.”
So, that’s about New Category Of Art: Fluidism