Curator & Art
Duas have been talking only about new artists, exhibitions or projects so far. But it is time to add another kind of articles to our website, within our brand new “Temporal section”. This section includes topics, such as artistic trends, means, styles and movements explained in depth, along different articles related to the aforementioned themes. This section is about Hyperrealism:
When someone thinks about Hyperrealism, it is inevitable to talk about photography. Photography is the only artistic discipline that seems to be everywhere, changed how people look upon the world, made and represented social changes in an accurate way. It is the discipline which has developed together with several generations and is the most objective way to represent reality. This is difficult to understand because Photography, as any other kinds of art, is subjective; it depends on someone behind the lens, thus a common view cannot be described. However, it has been depicting reality in a natural way for many years. This is the beginning of Hyperrealism, a genre whose aim is to represent reality even more realistically than pictures or direct observation.
In the 1960s, the first hyperrealist works appeared in the United States. These works were based on pop art, but in 1972, it strengthened as a movement at the Kassel’s Documenta Exhibition. From now on, a lot of people have supported this “movement” or artistic category. It is not a static movement developed in a specific period of time, renewed or reviewed by the following generations; it is a way of creating art, to look at the world not only based on drawings made with technical skills but also on artistic aspects related to sociology.
Hyperrealism uses pictures as the source of creation. Pictures taken by the lens hidden in a camera from real life are then granted with a set of little details that our vision cannot even understand. These pictures which may not belong to the current context are turned into art pieces that show a detailed reality. They are not considered as a copy, they are an alternative representation of these objective images taken from a camera. Alternative representations featured by: the sublime –works without human imperfections- and the grotesque –when these imperfections are exposed-.
However, this artistic trend, movement, discipline… is not only related to photography. The success of hyperreality shows a realistic point of view about things we can see for ourselves. This is possible due to an apparent dehumanization, the lack of artistic expression and passionate outlines. Artworks that overwhelm the observer not only because of its extreme technical control, but also due to a reconstruction of modern life in terms of documentary records in which there are no subjective gaze, cutbacks of situations or contexts –the discipline that inspired it neither make them- but both of them were born from the lens of an artist who chose what vision should capture.
Hyperrealism was born from pictures, grow together with traditional techniques related to established artistic concepts such as the trompe l’oeil and is well-known because people still think it is worthy of admiration; people agree with an unpleasant but powerful and honest vision and look into these outlines the reflection of an almost empty society but full of daily trivial details. For that reason, this discipline criticizes our consumer society that lacks humanization. This criticism can be found by reading between the lines and digging into the artworks. This movement may be forgotten by art scholars and supported by people who perhaps enjoy these pieces due to its aesthetic nature, the technical details and the pleasant vision offered. This is a rough translation about the main strength of Hyperrealism, according to A. Martínez Muñoz: “the illusion of hyperreality created by mechanical means of capturing and displaying images satisfy the idea of the existence of a naive vision that captures an apparent reality; that vision derives from the mixture between art and science.”
Marina P. Villarreal
Translated by: José María Ares Martínez