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Interweaving of Realistic and Abstract Paintings The Research of Hung, Shao-Che’s Painting Series -“Margins of Realistic Painting”
In the long history of art, the forms of realistic painting seem to reach a critical point now. The invention of photography around 1839 had changed the way of seeing the nature. Then “Painting Is Dead” had been declared, and the digital technology had stepped into art. They created another watershed of “painting”. It was a procedure of acceleration for an artist to visualize his or her mind and thought, too. In this gigantic system of graphical construction, the painting has been keeping queried, adjusted, and reconstructed. With the support of time and aesthetic theories, the territories and the forms of painting are becoming expanded and freer. This series are named as “Margins of Realistic Painting”. I want to discuss the painting, which is defined as a traditional type of art, in this era of multi-media, and its possible future development. I focused on the linkages and distances between realistic and abstract paintings. I elaborated the “uncertainties toward reality” in the category of realistic painting to define the real and unreal. And I researched the ambiguities of images, vague visual experiences and the mechanism of how abstract images come out into realistic ones while seeing and viewing. Finally I applied my results of researches of real images and simulations of visions onto my series of works. I started this series of works from portraits of people, and then I melted other elements into my works. In the categories of painting, I wanted to build up different visual modules by ways of juxtaposition of materials and collage of themes. Tags/Keywords：realistic paintings, representation, vague.
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