Painting, as far as its creation process as well as its appreciation, has a dialectic structure in which a series of formal elements are involved (form, surface, color, texture, matter), that appeal directly to sensory perception (what you can see) and a series of symbolic elements that have to do with interpretation and meanings (what you cannot see). Although this is also true of all other arts and mediums, it seems to be that painting is where the condition is most evident. At the present time, when art has become so tremendously discursive, fundamentally to be understood, and even a film can be told verbally, the context of visuality, nature and contemplative demand of painting are imperturbable. The power and validity of painting today are in that resistance, along with its critical possibilities.
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