Cryptorealism, a New Artistic Style Bringing Innovations in Art and Perception

DALLAS, TX / ACCESSWIRE / November 24, 2020 / Recently, 360 Digi, a well-known marketing company in creative and art industry, has released report on "Cryptorealism, a New Artistic Style Bringing Innovations In Art And Perception". In the late 1990s, economist David Galenson from the University of Chicago began exploring creativity and innovation in art as a substantial area of economic development. Galenson's research led him to postulate the theory that all innovative artists are either conceptualists or experimentalists.

Conceptualists, such as Pablo Picasso or Davood Roostaei, are assured in the completeness of expression in their works, enabling swift execution and progression to the next project. Experimentalists, such as Lucian Freud and Francis Bacon, adopt a more cautious approach, in which despite an abundance of careful revision and planning, their works may lack a clear objective and never be deemed by the artist as fully complete.

The development of a competitive market for artistic innovations produced an increase in the return to radical artistic innovations. By the nature of their innovative process, conceptual artists could respond better to these new incentives than experimental artists. Consequently, 20th-century art was dominated by conceptual art and artists.

David Hockney's more traditional works under this definition would be more experimental, taking him many months of careful contemplation to complete. Hockney's latest venture into digital art has transformed him into a modern conceptualist, enabling quick execution and rapid reproduction, all the while remaining true to his recognizably colourful aesthetic.

While his artistic path could be considered experimental, Davood Roostaei's style is inherently conceptual. Roostaei's strength as an artist is in his ability to perceive reality from a wide lens – incorporating motifs from various timelines, bringing them together cohesively to provide insightful commentary on historical figures and events. Roostaei illustrates the depth of time and transience, as well as the everlasting transformation of nature and life in his work. He has taken from his experiences, both artistic and political, to forge a new path of his own creation and a new revolution in art history aptly named, Cryptorealism.

Cryptorealism is a new artistic style that directs the viewer to consider alternative perspectives. According to acclaimed German art historian and critic, Hanns Theodor Flemming, "Cryptorealism is a technique which brings together the major currents of contemporary art, realism, and abstraction, from both traditional and modern-day aspects, into an original state of unity with individual identification." Roostaei's identity is imbedded in the works that he creates using oils and acrylics, and only his hands to depict his artistic visions – the artist has forgone the use of a paintbrush since 1986 in executing his paintings.

According to Roostaei, "In the aesthetic field, there are two main processes that constitute the essence of artistic and cultural activity: creation and public participation. Usually, there are three forms of participation in the arts: practice, assistance, and media. These three forms of participation – and therefore perception – vary according to the type of artwork". Roostaei adds, " in particular, some innovations related to the reception of art insufficiently allow for adequate means of participation". Perception is paramount in Roostaei's Cryptorealism, often hiding images at first glance, demanding the viewer to become an active participant in the revelation of meaning.

Perception is a crucial process in art creation and reception. Technological innovations influence the perception and degree of participation in artistic and cultural events; Such is the use of iPads in museums and information kiosks influencing how visitors examine and experience exhibitions. Innovations in art and associated technologies can have significant impacts on both the perception of art and the viewing experiences provided by cultural institutions now and in the years to come.

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Company: 360 Digi
Contact: Gary Santiago
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E-mail: gary.santiago@360digimarketing.com
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SOURCE: 360 Digi

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