INTROREALISM
Antithesis of Surrealism
1st Edition www.Introrealism.com
Copyright Š 2018 by Josef Clark Galvez All rights reserved. No portion of this book may be reproduced mechanically, electronically, or by any other means, including photocopying, without written permission of the publisher. It is illegal to copy this book, post it to a website, or distribute it by any other means without permission from the publisher. Printed in the United States of America First Printing, 2018 www.Introrealism.com
Contents
Introrealism 07 Art Guidelines
28
Endnotes 30 Artwork 31
The Shadow and the Mirror — Inspired by the Jungian concept of shadow projection where feelings of incompetence that we push into the unconscious become projected as character “defects” in others. Shadow projections often have the harmful effect of stirring social tensions sometimes leading to mistreatment of ‘other‘ people. Introrealist art aims to bring such unconscious patterns to better light.
“I was sitting at my desk once more, thinking over my fears. Then I let myself drop. Suddenly it was as though the ground literally gave way beneath my feet, and I plunged into the dark depths.�
- Carl Jung on Active Imagination
INTROREALISM By Josef Clark Galvez
Introrealism: from Latin intro - “to the inside” + Late Latin realis - “real”
INTROREALISM – Antithesis of Surrealism
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Introrealism is a psycho-philosophical approach to individual unconscious experience using principles introduced by Swiss psychoanalyst Carl Jung. Although unconscious experiences such as dreams and imaginary phenomena are distinct from real-world, physical occurrences, Introrealism subscribes to the idea that encounters in the unconscious realm are valid experiences of the individual and therefore indispensable in understanding the workings of the human psyche.
Josef Clark Galvez
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Before we proceed it is important to present a distinction between fantasy and imagination. For our purposes we will refer to fantasies as unhealthily repetitive, passive, disruptions in awareness that turn out being unproductive or even damaging to the individual. This of course differs from another definition of fantasies as creations of the mind considered highly unlikely to manifest in physical form, at least not in present circumstances. Science fiction, for example, falls under that category. On the other hand, imagination is our ability to consciously conjure in our minds visions and ideas, elements that are at the time beyond the “grasp” of sensory perception.
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This discourse excludes fantasies, hallucinations, etc. Rather we will revolve around the world of imagination — the imaginal realm. One of Introrealism’s primary concerns is how imagination directly, actively shapes our internal and external experiences. Our interest, therefore, lies in the “symbiosis” between consciousness and the unconscious. Introrealism aims to improve our understanding of unconscious experiences by advocating the practice of active imagination1, meditative contemplation2, even lucid dreaming3 . Here, unconscious manifestations of psychological disturbances — for example deep-seated anger, anxieties, excessive worrying — are engaged with and observed. Self-awareness and conscious presence serve as “anchors”, allowing the interaction to occur for as long as possible.
Josef Clark Galvez
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CRUX INTROREALISM – Antithesis of Surrealism
In art, Introrealism presents the synergy between conscious awareness and unconscious elements through a crux. Here a crux is an object, image, word, phrase, equation, etc. of profound meaning to the artist. A crux sustains an ongoing dialogue with an entity from the unconscious because it takes its power from its origin — our inner psyche. Usually the crux emerges as an image, an elemental “vision”, out of active imagination, although certainly this is not a rule. As a general principle, the crux must have an overt connection to the unconscious.
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Crux example. In this example the one-eyed heart is the crux. This image surfaced during an active imagination session where a dialogue with an unconscious element of anger had occurred.
Josef Clark Galvez
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Lampedusa Mother — Introrealist art inspired by the tragic sinking of a migrant ship near the island of Lampedusa in southern Italy. The crux in this example is the locket which shelters the woman’s unborn child. All other elements in this piece offer clues about the incident — namely that the mother had given birth while drowning as the exposed contents of shells and red backdrop show. In this example the crux is not merely symbolic of a tragedy but an active link, an ongoing connection to the sadness the story elicits.
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Lampedusa Mother (crux detail)
All other elements, if present, act as supplements that emphasize the crux’s significance. Thus the crux can serve as a situation cue signaling the viewer how to make sense of or interact with other components of the piece or the artwork itself in whole.
Josef Clark Galvez
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One-point linear perspective is omitted.
Study for the background of The Adoration Of The Magi by Leonardo da Vinci. A realist device, one-point linear perspective is incompatible with Introrealist art which places components in spatial suspension, as if floating in air, to create a dream-like perspective.
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Blue Wedding — Artwork based on meditative contemplations on personal fears. Note the spatial suspension of elements. Introrealist art departs from traditional one-point linear perspective, thereby achieving an “other-world” characteristic in keeping with the unconscious origin of its artistic inspiration.
Josef Clark Galvez
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“Psychic automatism in its pure state, by which one proposes to express — verbally, by means of the written word, or in any other manner — the actual functioning of thought. Dictated by thought, in the absence of any control exercised by reason, exempt from any aesthetic or moral concern.”
- Andre Breton on Surrealism
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André Breton, Manifeste du surréalisme, Éditions du Sagittaire, October 15, 1924
Josef Clark Galvez
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Surrealist automatism is an art-making technique in which the artist restrains conscious control over the creation process, instead yielding real influence to the unconscious mind.
Introrealist art shares similarities with Surrealist art. Certainly both take inspirational directives from the unconscious. With their ample use of dream imagery, both are somewhat related to Fantastic art genre. However, variations lie in their psycho-philosophic origins and methods of relaying thought.
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Surrealism was heavily influenced by Sigmund Freud’s free association method, thereby making Surrealist art more an interpretive technique. On the other hand Introrealism emerged primarily from Jung’s active imagination method which focuses on a conscious dialogue with an element from the unconscious. In art, therefore, Introrealism is an experiential strategy.
Introrealist experience of the unconscious is not described as “surreal” but in fact real — only within.
Josef Clark Galvez
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Screaming Damselfly — The winged creature’s face resembles a specific person who displayed racist attitudes. Following Carl Jung’s theory of shadow projection, the scream in this work is a dark psychological projection in the form of a racist tirade. This artwork facilitates a conscious dialogue with the lingering anger brought on by such unconscious behavior.
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Surrealism conveys messages through juxtaposition or chance combination of disparate elements. On the contrary Introrealism conveys messages by the deliberate effect of an element, the crux, taking a direct route in conveying thought. And while Surrealism purposely discards the guidance of reason, Introrealism uses rational signposts and logic to “ignite� the spark of insight and revelation.
Josef Clark Galvez
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God’s Eye (study). In this study for an Introrealist art, the crux is composed of alchemical symbols and mechanical gears. Introrealist art makes use of logic as guides in exploring the unconscious.
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Introrealism’s emphatic use of reason and conscious presence in navigating the unconscious makes it run counter to Surrealism’s thematic dogma. This, in fact, is what makes Introrealism the antithesis of Surrealism.
Josef Clark Galvez
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As it unfolds in the millennial era, Introrealism faces the challenge of anchoring the individual to rational and moral aspects pushed aside by everyday “conscious” roles. It serves as a mirror, reflecting the much needed light of logic and reason into the dark shadows of our inner and outer experiences.
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St. Louis 2018
Josef Clark Galvez
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Art Guidelines 1. Introrealist art aims to bring the unconscious to our better understanding. Be it about personal issues or sociocultural topics, unconscious elements must always remain the subject of an introrealist artwork. 2. A crux is always present in Introrealist art, taking the form of an image, text, phrase, equation, or object that displays a direct communion with unconscious elements. It must always be the focus contextually. 3. In mixed media a crux can be detached from the artwork and placed in another artwork or receptacle as long as it retains its relation with an unconscious entity. A crux can also be created as a wearable object or regarded as a personally sacred relic. 4. Crux multiplicity - It is possible for an artwork to contain several cruces as long as there remains contextual congruence among them. Each crux must keep an active dialogue with its unconscious element.
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5. Spatial suspension - Introrealist art does not follow traditional linear perspective and size-relation rules. Spatial suspension of elements must be present. Stylistically Introrealist art descends from Orthodox religious iconography. 6. Abstraction - Introrealism embraces physical depictions of psychic entities or “unconscious masses“ as long as a direct link between the two is overtly conveyed through a crux. However, abstract expressionism — the new kitsch in the Millennial era — has no place in Introrealist art. 7. Introrealist art is not outsourced art. The artist credited for the piece executes the work from beginning to end. With collaborations, the completed work must give credit to each involved.
Josef Clark Galvez
Page 29
Endnotes
1 As developed by Carl Jung between 1913 and 1916, active imagination is a meditation technique where unconscious contents translate into images, narrative or personified as separate entities. It can serve as a bridge between the conscious “ego” and the unconscious and includes working with dreams and the creative self through imagination. [Return] 2 Jung, C. (1953). Psychology and Alchemy. Princeton University Press. The use of the term “meditation“ in the Hermetic dictum ”And as all things proceed from the One through the meditation of the One” must be understood in this alchemical sense as a creative dialogue, by means of which things pass from an unconscious potential state to a manifest one. [Return] 3 In a lucid-dream state one is deprived of external sensory input. The dreamer is then self-aware while actively engaged in the dream experience. [Return]
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Artwork
Artwork and illustrations by Josef Clark Galvez unless indicated otherwise. www.JosefGalvezArt.com
Confluence
Josef Clark Galvez
Cover
The Shadow and the Mirror
05
Crux (example)
13
Lampedusa Mother
14
Lampedusa Mother (crux detail)
15
Adoration of the Magi (study)
16
Blue Wedding
17
Surrealism Manifesto (photo)
19
Surrealist Automatism
20
Screaming Damselfly
22
God’s Eye (study)
24
Page 31
www.Introrealism.com