1. Introduction:
    Explanation Of Content
  2. Section One:
    Elaborated Version Of "The Theory Of Artistic Relativity".
  3. Section Two:
    Elaborated Version Of The Theory's First Derivational Category Of Art, "Psychotic Symbolism".
  4. Section Three:
    "Let Us Not Forget!" - The "Artistic Tragedy" Of A Great Artist.
  5. Section Four:
    Condensed Version Of The Theory And Category As Copyrighted In 1985.
  6. Section Five:
    The Symbolism Of "The Moth"

5. Section Four:
Condensed Version Of The Theory And Category As Copyrighted In 1985.

Jump to: Prelude | Part 1 | Part 2 | Psychotic Episodes

PART 2 "Psychotic Symbolism"

To comprehend the acclamation of "Psychotic Symbolism" and its categorical derivation from "The Theory of Artistic Relativity", an exposition of the most influential factors involved .is necessary to give a truer testimony towards the artistic conclusions that have come about. Elements not directly related to the theory's concepts but still important to the development of the category will be cited. The course of events that led to the creation of this particular category, as well as the theory itself, must be properly sequenced. It will also be necessary to verify "Psychotic Symbolism" as a viable art concern in order to substantiate the hypotheticals of the theory.

To begin, "Psychotic Symbolism" is the first category of art devised according to the idea of artistic transgression reversing set forth by The Theory of Artistic Relativity". The theory can be briefly summarized as the combination of past or current art styles into a systematic formula for the creation of completely new categories of art reflecting the various artistic components of the particular styles chosen. In turn, "Psychotic Symbolism" is basically the combination of two established classifications of art, Impressionism and Surrealism. To fully understand the makeup of the category and its terminology, it must be further broken down into conceivable factors.

"Psychotic Symbolism" is an imaginary "surrealistic" world designed in an "impressionistic" format whereby certain delegations of "symbolism" the figur­ative objectivity has been assigned various meanings taken from our conventional existence, unveiling a deviant or "psychotic" atmosphere. The symbolism discloses a special theme for each individual artwork executed, making each work even more unique rather than just repetitiously reflecting the style of the artform. The figurative objectivity of the artwork corresponds to the theme's inferences. A corresponding title and explanation of each theme, usually in story or poetic form, is incorporated as part of the artwork's imagery composition. Each theme is then denoted a "psychotic episode" and is numbered and dated according to sequence and time of execution. This information is also incorporated as part of the artwork's imagery composition. The presence of the language is to clarify the theme and symbolic meanings of each individual work so the intent of the artist is not misconstrued.

To expand upon said symbolic meanings, it is best to give a few examples from context. In the first column the visual imagery or symbol, will be given while in the second column the relationship to our conventional existence or symbolism will be divulged.

Trees People
Sun Power
Moon Romance
Clouds Heaven
Stars Spirits
Roads Destiny
Rainbow Grace
Flowers Beauty
Petals Wealth
Fence Blockage
Fog Mystery
Lighting Aggression
Teardrops Sadness
Hearts Love
Hooks Evil
Water Life
Waves Motion
Wind Force
Umbrella Shelter
Mountains World
Boat Self (of the viewer)

The symbolic meanings can be augmented to a larger scale by interacting the symbolic imagery. For example, if trees represent people and hooks represent evil, then trees with hook-type arms for branches would stand for evil trees or evil people. The symbols themselves can be altered to portray different symbolic meanings. For example, if a sun symbol with many rays or sunbeams "represents much power, then a sun symbol with no rays or sunbeams at all would stand for the state of being powerless. The number of particular symbols can indicate different symbolic meanings. For example, if teardrops represent sadness, then the amount of teardrops used in the imagery composition would stand for the amount of sadness to be denoted. Even the location of placement of the various symbols throughout the imagery composition can represent certain causes or effects for symbolic meanings. In fact, the countless possible symbol interactions and range of compositional placements gives way to many different theme varia­tions to the point where the artistic chemistry of "Psychotic Symbolism" that develops new works of art is extended almost mathematically, like some kind of numerical table of function. The infusion of new symbols with symbolic meanings can always be added to the previously charted list to further increase the "table of function" for "Psychotic Symbolism".

To assemble a theme one only has to select an assortment of symbols and fashion them into a compositional arrangement. The artistic language for the theme would then be dictated by the assemblage. For example, we can select trees with hook-type arms for branches reaching and grabbing for floating petals in the air. The theme and title of the work could then pertain to people full of greed striving for materialistic desires. Change or add symbols to the composition and an entirely different theme unfolds. We can also reverse the assemblage procedure and devise an idea for a theme first and later correspond the symbols and their compositional placements.

Having now summarized the basic ways to fabricate a work of art according to the "Psychotic Symbolism" mode, we must make mention of those elements not directly related to the concepts of "The Theory of Artistic Relativity" but still important to the development of the category. These elements played a major roll in connection with the origin of the distinctive imagery characteristics and artistic style of "Psychotic Symbolism". They can best be described on the whole by referring to a questioning statement that has guided every facet of artistic direction the category has followed and whose query every artist has pondered at one time or another. This .questioning statement is "what would be the ultimate artform ever created?" It is true there may never be a direct answer to this investigation, however, a course was plotted accordingly. From its initial onset, "Psychotic Symbolism" literally has been the personal views of the artist that demonstrate the ultimate artform notion with said unrelated elements being those viewpoints. At times, "Psychotic Symbolism" has followed the concept of the ultimate artform even more so than the concepts of "The Theory of Artistic Relativity", to the point where one may even discern a theory within a theory. To examine the ten most integral "elements of command" the artist deemed necessary for ultimate artwork, it is best to simply list them with a brief explanation of intent for those not determined self explanatory.


  1. Employment of the Principals of "The'Theory of Artistic Relativity."
    1. Impressionism aspects chosen for color variations that allow changes from realism.
    2. Surrealism aspects chosen for capability of transposing figur­ative objectivity into realism.
      (The aspects of these two categories of art were chosen since they offer the widest range of variance for the creation of new types of realism.)
  2. Explicit use of nature.
  3. No connotative visual imagery that pinpoints any particular era of time, period of history, or example of society.
  4. Basic utensils of art with the most minimal artistic equipment.
  5. Themes dealing in general or universal commentaries such as life, death, emotions, etc.
  6. Vision centralization where the figurative objectivity is centered in the middle of the artwork so as any peripheral vision is replaced with abstract areas of shades or color eliminating inter­ference from outside sources, such as the frame or end of the artwork.
  7. Depth simplication where minimal to no depth at all' is employed to induce "dreamlike" state.
  8. Categorical identity concepts from "The Theory of Artistic Relativity."
  9. Linear perspective qualities to include drawing fundamentals.
  10. Artistic stereotype inclusions to satisfy art society's expectations that the artist has performed from some "higher state of
    consciousness" or "mental disorder" (examples; Dali, VanGogh, etc.) The potency of the label of the category itself, "Psychotic
    Symbolism", is a prime example of this influx.

We have now finished detailing the artistic chemistry of "Psychotic Symbolism". The course of events is the last important factor to be cited. By the format of this thesis it may appear that the course of events began with the initiation of "The Theory of Artistic Relativity", followed by the derivation of the category termed "Psychotic Symbolism", with the execution of the actual artwork perceivably being the final outcome. However, the incubation period of the theory, category, and artwork, spanned over a number of years resulting in a reciprocation of information, making it somewhat difficult to extract an exact order of events. But for all intent purposes, the course of events occurred quite opposite what has been portrayed. First, the characterization of a style (artwork) emerged from constant refinements of early works, followed by the need to label and distinguish the new found artwork as a separate identity (category) in the artworld, lastly ensued by a justification (theory) of the premier artistic discoveries.

In climaxing, the occurrence of the course of events in this manner is vital to the verification of "Psychotic Symbolism" as a viable art concern. Amounts of verification and credibility are given by realizing that "The Theory of Artistic Relativity" and factors of the category were actually derived from the influences of the artwork. Although true verification is commonly acknowledged by notoriety in art society, it is hoped that the theoretical nature of the category, coupled ,with anticipated artistic potential for the artwork, will suffice minimum require­ments needed for such notoriety, if indeed those requirements do exist at all. Finally, if this thesis happens to be reduced to a mere study for one particular artform, it must be made known that it is a one of a kind study for the creation of masterpieces.