Memory Blocks III

Memory Blocks III

A new installment for my Memory Blocks series. This time it is with my mom’s portrait at the age of 5.

8″ x 8″ (20 x 20 cm) oil on gessobord panel. To bid on this painting click here.

I’ve found interesting articles about photorealism and hyperrealism on Wikipedia:

While the articles are very informative, with lots of links, examples and images, they didn’t articulate clearly the difference between the two styles. Seeing that the terms are often used interchangeably I wanted to define the deference for myself. Here’s what I came up with:

The beginnings of Photorealism are placed at 1960 – 1970. It is a method of painting that uses a photograph as a reference and takes this reference literally. The painted image is extremely well defined and detailed. All information available about the subject is rendered in the painting. The rendering is tight and very accurate. Emotional processing and creating of a narrative are left to the viewer’s imagination.

It was clear from the articles above that Hyperrealism as a genre has originated in Photorealism at about 2000. In difference to its originating genre Hyperrealism takes the image to a surreal plain to some extent. The painter paints everything he or she sees to the maximum degree of accuracy that the skill and medium allows… and then the artist takes the image further, creating more clarity and definition than the reference had. For example, if some details were dimmed in a shadow or bleached in a strong light, the artist reinvents them and puts them in. The resulting image simulates a reality that did not exist and crosses into the territory of illusion.


16 thoughts on “Memory Blocks III

    • Thank you for reading this obscure info, Linda! I am curious about strange things like these, especially considering the type of painting I try to do. And then there is Trompe L’oeil, of course :). I may have to write about it next time… Glad you liked my blocks!

    • Thank you, Ganapathy! I am glad I could make some sense of those terms. It can get confusing, it did for me. That clock was giving me trouble, it looked flat for a very long time. It was when I figured out the lost edges it finally came to life :).

    • Leslie, it means a lot to me that you like this series. I keep thinking one of these days I’d give up details and paint broadly and loosely… That day is not here yet :). There are so many different directions of realism, these two I talked about are often confused with one another. I wanted to clarify it for myself and perhaps for those who are interested in nerdy stuff like that.

  1. Interesting how you juxtaposed the watch with the blocks. Is time standing still for you with these memory blocks?

    I always like the mood of these paintings. Warm, nostalgic, maybe a bit sad. Beautiful work as always.

    • Interesting take on the clock, Carol. No, I have not thought of the “time standing still” for me, but now that you’ve said it – it makes perfect sense. I like it that you read something in my image that I did not consciously intend – that’s really good!

      The nostalgia and melancholy of the time bygone was intended, happy that it came through!

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