Dr. Hugo Heyrman /
painting concepts /
Painting and visuality
Painting is vision.
Painting is factor x.
Painting is visibility.
Painting is image-space.
Painting is learning to see.
Painting is self-made reality.
Painting is synesthetic vision.
Painting is structuring attention.
Painting is visible silence.
Painting is developing ways of seeing.
Painting is perceptual knowledge.
Painting is self-actualisation.
Painting is personal freedom.
Painting is the future of perception.
Painting is having something to say.
Painting is visual research.
Painting is a meta-idea.
Painting is a sign-vehicle.
Painting is visual thinking.
Painting is constructing meaning.
Painting is iconic communication.
Painting is about the dynamism of visual forces.
Painting is about the mental status of an image.
Painting is about how we see an image/picture/presentation.
Painting is the construction or differentiation between real, symbolic and imagined.
Painting is about the coming into existence of the visible.
Painting is the making of new icons.
Painting is about the nonverbal aspects of human communication.
Painting is bringing the balance between the visual and the mental, the material and the content, into a new articulation (articulation is the bringing into being of a thing from within itself).
Painting is the triumph of memory over time (memory is always an active reconstruction of existing knowledge).
Painting is about the impossibility of representing reality.
Painting is an exploration of the possibilities of the medium painting.
Painting is about the intuitional grasping of the power of visual thinking.
Painting is a presentation of representations.
Painting is about the ambiguity that exists between a real object, one's mental image of it, and its painted representation.
Painting is about the distance between the experience of reality and the self.
Painting is about ideas about the discourse of painting.
Painting is the intersection of the intentional and the unintentional.
Painting is about the tension between abstraction and representation.
Painting is to work with the limitations inherent to the medium of painting.
Painting is to find out new ways to make an image.
Painting is giving reality a virtual quality (hyperfiction).
Painting is working with layers against and towards each other.
Painting is working on the redefinition of the concept 'visual image'.
Painting is about the virtual qualities of 'reality'.
Painting is about the after effect of making the experience of 'reality' more real.
Painting is about transmitting something, showing something, meaning something.
Painting is a philosophical tool, to pose questions rather than to provide answers.
Painting is about taking risks.
Painting is about visual experiments.
Painting is about degrees of visibility.
Painting is about forming metaphors and inventing visual icons.
Painting is about meanings, patterns of inference and structures of thought.
Painting is about making new connections between the external and the inner world.
Painting and space
Paintings are about the human touch and trace.
Painting belongs to culture as a domain to which people are extremely sensitive, because it provides a way of understanding oneself, a kind of shared experience.
Painting as experience is about making decisions: a kind of give-and-take with the kinetic use of materials and the environment, analogous to the 'feel' of driving a car.
Painting raises many fascinating questions in relation to exploring notions of time, which probe into the very nature and purpose of painting.
Painting not beautiful images, but necessary images.
Painting rigorous, demanding and concentrated images.
Painting images that surpasses beauty, in both intention and effect, and stress necessity.
Painting supersedes what's personal by becoming 'Post-ego'.
Painting and experience
In painting color is a state of mind.
In painting perception is consciousness and its antidote.
In painting form and colour are ultimate identities.
In painting 'reality' has always been virtual.
In painting my subject matter is perception (the status of the image).
In painting I want to make a vertigo between form and content.
In painting my only dogma is that there are no dogmas.
In painting art begins where theory ends.
In painting I can interpret one sense by another.
In painting I can make new models of reality, new forms of realism(s).
In painting I can represent matter in its 'form of life' and color as the 'aroma of existence'.
In painting metamorphosis is more mobile than movement.
In painting all that we see can also be otherwise.
In painting I give 'reality' a new image, but no name.
In painting I make not only visual images, but also auditory, olfactory and tactile images.
In painting I am able to go beyond language and preconceptions, as one way to come close to an idea of freedom.
In painting the artist transcends the craftsman.
In painting an iconic sign is in a nomadic relation with what it signifies.
In painting there is a profound difference between the world we see and the constructed image the artifact (perception is 'not' based on retinal pictures we do not see 'images' of the world: we see the world). The philosophical tension between these two worlds is a starting point for all my paintings.
In painting the concepts 'image-space' and 'mental image' are playing a crucial role for the question of the connection between visual and verbal space.
In painting there appears to be something about seeing that reaches deep into the psyche.
In painting a picture always stands for something else, for what it depicts, for its meaning and how it functions.
In painting representational images are abstractions (relative to what is represented).
In painting every image is a fiction and at the same time a 'reality' in itself.
In painting 'realism' is an ideological illusion.
In painting 'reality' is that which cannot be represented.
Painting and meaning
Painting transpositions of meaning.
Paintings are the 'fuzzy logic' of icons.
Paintings are a human source of mental comfort and consolation.
Paintings are the iconology of the human imagination.
Paintings are as aspects of existence that can come together in a psycho-dimension; the potential graduation, juxtaposition and tension between reality, representation and fiction, between a 'déjà-vu' and a 'jamais-vu' experience.
Paintings are about the image of an image, of an image, of an image. . .
Paintings are a stream of consciousness, transporting us into another dimension.
Paintings are statements on the sensible power of images.
Paintings are functioning as a reflection of emerging possibilities.
Paintings are about constant becoming.
Paintings are about now.