Explanation Of Content
- Section One:
Elaborated Version Of "The Theory Of Artistic Relativity".
- Section Two:
Elaborated Version Of The Theory's First Derivational Category Of Art, "Psychotic Symbolism".
- Section Three:
"Let Us Not Forget!" - The "Artistic Tragedy" Of A Great Artist.
- Section Four:
Condensed Version Of The Theory And Category As Copyrighted In 1985.
- Section Five:
The Symbolism Of "The Moth"
1. Introduction: Explanation Of Content.
"The Theory of Artistic Relativity" and the theory's first derivational category of art, "Psychotic Symbolism", were "formulated" in response to a condition that exists in the art world when an artist tries to create a "new" work of art that he or she feels is totally unique in its own nature. The condition that exists is when the artist then subsequently shows the "new" work of art to someone, and that particular "art critic" associates the creation with something that has been done before. The "new" work of art is referenced to some past artist or style of art dooming its individual "uniqueness". I myself have experienced this type of association once too often, so I decided to correct the problem.
I wrote the first version of this thesis in a more condensed form for copyright purposes, but I feel now it is necessary to elaborate on the thought process that occurred at the time to give a "play by play" account of the steps to the solution of said problem to fully comprehend its meaning. Therefore, the first section is devoted to give an account of the thought process that developed "The Theory of Artistic Relativity". The second section is devoted to give an account of the thought process that developed the theory's first derivational category of art, 'Psychotic Symbolism". The third section may be the most important section of all. It is pertinent in deciding the fate of this thesis. This section is titled, "Let Us Not Forget!" It is a somewhat exaggerated story of an account, or better said, TRAGEDY of what happened to a famous artist of the past. I have included this story and hypothetically added to it to serve as a reminder that we do not make the same mistake twice! The fourth section is the actual condensed version of the theory and category as copy righted in 1985, since that is how it went to record at the time. It also includes many poetic writings that were part of a phase of "Psychotic Symbolism" to be incorporated (and many were) as part of the artwork itself, so everyone could read and understand the individual theme of each painting. (It is advised to read SECTION ONE first)
One final note as you examine this thesis is to always keep in mind one important thought. There are two types of artists in the art world. The first type is the artist whose sole purpose is to sell their artwork. Their work ends up over a couch, on an office wall, or in some private art collection. There are not many of the "other" type of artist out there. That particular artist's sole purpose is to execute their work and devote their entire life to impacting art history and advancing art. The requirements are vastly different. The protocol has to be of epic proportions. Just ask yourself, what would one come up with to change, add to, or advance art history itself? You will then begin to see the difficult task at hand. This thesis and actual artwork is conceived by the "other" type of artist. It is an attempt to impact art history. It came about as it did with no compromises. Keeping all this in mind, one may understand the path that was taken. My intent is to save the art world from a self- imposed extinction. This also is a means to save my artwork so that others may study the attempt at hand and use whatever merit it may have for the advancement of their own creations. Let us not forget, "The Theory of Artistic Relativity" and "Psychotic Symbolism" has at least saved one artist here! I hope that it may also save you.