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Alex Jul, Realist Painter, From the beginning, the interpretations that condemned the history of art towards the great lie were the precursors that, during its course, a series of failed social constructions have been inexorably cultivated, like a bad vice.
Symbolism, the abstract-figurative duality; terms that are undoubtedly closely linked to the origin of time. And the fact is that the will to ” commercialize ” these concepts has meant that, strategically and as an eyedropper, their launch to the world has been pre-designed as ” new movements ” throughout history.
The apology and the mention of ‘’ art ’’ must disappear.
Its banality will be recognized in favor of a great and powerful transcendence and the emotional being of the subject and receiver as the only precursor of its existence.
‘’ Art ’’ will be solely and exclusively synonymous with ‘’ suffered alteration ’’, in the same way that it will be understood as a trivial element, practically insignificant in the environment.
The terms ‘’ sensitive field ’’ and ‘’ emotional field ’’ of being will be consolidated as the only factors pertaining to reality. Denying, without exception, any other. We will expand those fields in order to enhance the evolution that we were never able to achieve. Only by putting its expansion to the test, will we be able to know the fragility of our limits.
And only after the limits, the substantivity of our emotional absence.
Altamira, Renaissance and Baroque and even the revolutionary trend of the Vanguards of the twentieth century, are closely complicit with this great project that insists on making art a slave servant of the environment, giving no other option than to conform to the events that happen.
I invite you to check it out. And it is that if in some way, history exists as we know it, it is because of the way we have been educated. This has been narrated based on the recurring succession of referent authors and established movements. People and times to be idolized by the fact of having adapted and having built their work justifying themselves in the historical-social trends in which they were submerged. And above all, making the crucial mistake of resorting to symbols
At no point does the story tell the inverse circumstance that it is the environment that is at the mercy of the artist, or much better said, of the sensitive being, of the emotional being.
All part of a fundamental contemplation, and that is that if we do not consider art as the motor tool of the evolution of the emotional and sensitive being, the whole story is boring nonsense. But it is not worrying because it is boring, if not because it unceremoniously threatens the future of human evolution.