Alternative visual art -- abstract art

Alternative visual art -- abstract art Since the 20th century, the definition of abstract art is no longer just used as the opposite of realistic style. Representational, abstract and narrative content have been recognized in the development of Western abstract expression. The use of compound media opens the limits of formal expression and highlights its rich vocabulary. Following the structure of Kondinsky and Mondrian's visual aesthetics exploration, artists are still deducing the meaning of the word "abstraction" in the history of art, extending the meaning to sociology, art history and other levels, so that the possibility of abstraction is wider. "Learning" and "experience" make people's values appear to be the same value crisis, so that people lose the tendency of independent personality, and can not interpret the real phenomenon of things, moved and reflection. The sense of loss in life also arises in the process of people becoming less and less able to identify themselves. Drawing prompts the possibility of communicating with the outside world, and reminds people not to bind their eyes with concepts, but also to bind their viewing angles and possibilities. Let go of the existing framework that exists in your mind. It is possible to make the subtle feeling of being in space, and the fresh scene, through the atmosphere of freedom, cross our eyes and enter our hearts. Let the illogical or not in our habit of sight, can also become the object of the eyes. Try to open the eyes, activate people's hearts, and then lively and enrich our life experience. Realistic emotional themes often correspond clearly, while abstraction often provides elements corresponding to emotions in color and form. When the element clue and the visual commonality contradict each other, it is often difficult for the viewer to express the emotion of the painter. The painter adopts an almost realistic approach to the scene of life, but he can jump out of the "inertia" Angle in the concept, with a new observation, framing into the painting. When it comes to the issue of whether abstraction and concretion can coexist in the picture, painters often make a preliminary judgment on the possibility in the process of observing and choosing the subject matter. This ability to judge comes from the artist's attempt to recover the "animal" instinct with which to observe the nature of things. Only through the instinctive eye, touch the subtle changes of matter itself, or observe the new relationship produced by the coexistence of matter, can we produce visual novelty. In the process of creation, the painter does everything possible to abandon the honed skills and the limitations of the learning background. Painters believe that: the existence of casual scenes in life, do not need to whitewash false, or impose symbolic meaning, as long as you can master the changes of light and shadow between brake and move, may form the main force of the picture. A good moving painting, in addition to the brush strokes, in fact is the abstract feeling moving us. That abstract feeling is your own abstract space, and I'm not talking about the three dimensions of the physical world, but your own abstract space. ..." . When looking for the relationship between objects on a flat canvas, contradictory multiple viewpoints appear. It makes every part of the composition of the picture become a necessary element, everywhere implying the closely forced contradiction. Perhaps this is the artist's ability to observe objects, which is beyond ordinary people's eyes, and also the artist's artistic ability to show the tension of the picture in the limit of vision. The artist believes that the second and third degrees, or the realistic and abstract, are the co-existing scenes in the real world, not through his personal hand transformation and change, he is only for people to capture the life often ignored and forgotten parts.