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Fluidism Art – From Traditional To Transcendental Action Painting
A new category of art
The term “fluidism” can be used to label a particular category of fine art painting where both the layers and the subject are the same. “Substrate” means the actual material from which the painting is made (ie paint). “Subject” is the intellectual inspiration from which the painting grows (ie, meaning, representation, or purpose).
In fluidism art, the substrate (that is, what the painting is made of) and the subject (that is, what the painting is about) are inseparable. The substrate is the subject and the subject is the substrate. The visual and verbal appeal of fluids extends directly from the physical properties, chemical characteristics, and dynamic patterns of fluids in motion. In fluidism art, both the sensory and conceptual appeals of fluids interact to create a deeper understanding.
Fluidism painting, thus, is the act of mixing and manipulating real fluids, to discover, experience and present fluid dynamic patterns as a temporary form of art.
A primary source of inspiration and intelligence
Throughout history, various artists have engaged in creative activities that fit the label “fluidism”. More than 2000 years ago, Shinto priests of ancient China, for example, created sacred art by dipping ink into pools and transferring the resulting concentrated patterns onto rice paper. Ancient Japanese artists, in the twelfth century, refined this ink release into a style that was later formally classified as suminagashi, which means “floating ink”. In the fifteenth century, sculptors in the Ottoman Empire developed a closely related painting style called “Ibru”, which roughly means “cloud art”.
In modern times, a technique known as “marbling” came into fashion in the West and over time came into fashion. Near the present time, as the physics of fluid dynamics progressed, students of various sciences discovered the beauty of this physics, leading some scientifically-minded people to turn their primary interests to the art of fluid dynamics. One such scientist-artist, for example, is Chris Parkes, who originally studied engineering at Imperial College, London.
Most of the world’s religions have always seemed to have a close relationship with liquids, paralleling artistic and scientific interests. The idea that life and reality originate from liquids is, in fact, widespread in many world faiths, from ancient Egyptian myths to modern Judeo-Christian creation stories.
Throughout history select artists have found great inspiration in fluids, and while modern science has made extensive use of fluid dynamic ideas, almost all religions have considered fluids to be the origin and foundation of reality as we know it.
Modern astronauts have played with liquid water in the weightlessness of outer space. Contemporary painters have played with liquid paints in the minimum-gravity conditions of parabolic aircraft flights. Don Pettit is one such astronaut and Frank Pietronigro is one such painter. Both metaphysics and physics now respect fluidity in each field’s own unique way.
Consequently, a special word, “Liquidism”, It seems justified to help mobilize this broad, human creative interest.
Transcendental Action Painting
American painter, Jackson Pollock (1912-1956) can be regarded as the premier Fluidism artist. Art critics of his time referred to him as an “abstract expressionist” or more specifically a “drip painter” or “action painter”. However, Pollock may have been fully aware that he was conveying nothing intentionally. Rather, it was expression itself–both the substance and the act of expression, without any formal intention. Pollock noticed that spontaneous actions can lead to pleasurable patterns. His dry painted patterns were frozen echoes of his once liquid works. Pollock, thus, was an extension of the active flow of his chosen substrate (i.e. paint). He can record the residual patterns of his actions in the original paint medium, as these patterns are stable even when wet. Pollock’s liquids dried almost exactly as their wet counterparts.
The advent and advancement of photography has clearly shown that some fluid samples cannot be dried in their original layers. These fluids are either very transient or are lost by drying. In other words, some visually appealing moments of wet flow may not be preserved in the original substrates where they originate. A bubble, for example, pops. A splashing sheet of liquid quickly passes through the air back into the mass from which it splashed. Dissolves specific bumps or striations of liquid layers, before the mechanics of drying can involve those samples. Clearly, the idea of “painting” Extends beyond the substrate of a dry painted artifact.
Photography has demonstrated that painting is, or can be, an act where certain patterns cannot be captured, unless the artist transcends the medium from which those patterns originate. A photographic artist can, thus, capture the impression of a bubble before it pops. A photographic artist can freeze a flying sheet liquid before the sheet crashes back into its mother pool. A photographic artist can stabilize a particularly striking color clash or a distinctive striation of colored fluid bands before dissolving into a homogenous solution. Patterns that were once invisible due to the motion of specific actions can now be made visible through the stop-action capabilities of the photographic artist’s camera. Photography enables a category of action painting that defies the traditional static definition of the word “painting”.
Fluidism, developed from various traditions that involved handling wet liquids and allowing these liquids to dry. Fluidism has evolved into the modern attempt to photograph manipulated liquids while still wet. Traditionally, only dried residues of fixed wet samples were possible. Virtual dried remains (i.e. photographs) of ephemeral, impossible to dry specimens are now possible. These are “transcendental action pictures” — a profound extension of the original idea of ”painting.”
Copyright (c) 2011 Robert G. Kernodal
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