Introduction
Contemporary art, if it can still be called art in many respects, has lost its credibility, artistic value, and structure. Galleries have become a desert of thoughtlessness, filled with repetitive and meaningless hasty attempts. Skill is no longer valued, nor is the artistic idea behind the work, and neither of these can be found anywhere today. The concept of artistry has suffered from inflation, with everyone being an artist, and this once-respected profession has now been invalidated by all kinds of abstract artistic wannabes who have simply decided to become artists.
Hypercubism is a statement in favor of consistency and the restoration of pure ideas. Hypercubism will restore order and remind us of the processual nature of art and the struggle that art-making truly is. Hypercubism brings a sense of purpose and rebellion, which in our all-accepting and uncritical society has been suppressed by incomprehensible thoughts and ideas.
Hypercubism restores the purpose and meaning of images and works of art and challenges the empty and thoughtless mess of contemporary art and unframed works that only insult the true meaning and idea of art. Hypercubism revolutionizes the way we think about the production of artistic works, but it also restores the true nature of art to our minds. The purpose of art is to change the world, not to conform to existing ideologies and pointless continuities, which are primarily defined by those who do not even work in the field.
In order to understand the art we create, we must first understand ourselves. The philosophy of hypercubism is based on self-knowledge and a learning process in which we question the structures and ways of functioning of objects, ourselves, and our thinking. The pursuit of truth, understanding the true nature of events, things, problems, and objects, as well as the structures of our reality, and verifying them as three-dimensional structural works is the goal that hypercubism embodies.
Declaration
Hypercubism was born out of the need to respond to this inconsistent world’s views on art and its structures that have become meaningless. A superficial and materialistic approach to art has ruined the real idea, the nature of art, and the thought process behind it. Hypercubism not only makes the artistic process visible, but also embodies the true structures of our reality in all its dimensions. This beautiful philosophy, both structurally and conceptually, renders any objections futile. The idea of hypercubism is simple. We live in a multi-layered reality whose unchanging rules and structures demand to be seen. The two-dimensional depiction of reality or emotions has taken over the field without bringing anything new to it, and anyone can proclaim themselves an ambassador of art.
Hypercubism brings alongside two-dimensional depiction a form of three-dimensional structural depiction that imitates the structures of our reality truthfully and purely. Hypercubism is not just an artistic trend, but an unshakeable philosophy of life and a description of the nature of existence and reality. There are three dimensions. Our three-dimensional reality, which, as it moves in and out, forms a four-dimensional dimension of mind and thought. The basis for everything is the fifth dimension, consciousness, from which our entire reality is constructed with its physical rules and guidelines. All these dimensions carry the echo of reality, interacting with each other in the same moment, in the state of being, in our lives.
Hypercubism changes our way of making art and our understanding of it as a purely emotional reaction, transforming it into a coherent and structural view of the true nature of our reality. It challenges and invites its creators and interpreters to return to the source of intellectual process, learning, and self-awareness.
Hypercubism takes ecological thinking on a material level to a new level. The works are assembled from old, worn-out materials, with the idea of bringing once-meaningful materials back to life. Old clothes, wallpaper, books, and furniture merge into solutions reminiscent of three-dimensional reality in the work and become a factor that verifies the layered nature of reality. Nothing is new or old, but the simultaneity of our reality is also verified conceptually through purposefully selected recycled elements. We think of beauty not so much in terms of superficial aesthetics, but through logic and intellectual composition. Structures are beauty, not superficially painted and polished to perfection.
Hypercubism functions as a multi-layered experience for both its creator and viewer, challenging the interpreter of the work to journey deep into their own thoughts and understanding. Is it ever possible to depict the true structure or diversity of reality on a two-dimensional surface? No. Our reality is an ever-changing whole, in which the dimensions we experience interact invisibly beneath the surfaces of the planes, creating various contradictions and layers in our experience. We can verify all of this through hypercubism.
Method
The hypercubist method is an intellectual, self-exploratory, and creative long-term process. It does not involve quick, ill-considered decisions, but is based on consistent, systematic, and structural analysis, through which the work takes shape. Each hypercubist work is a multidimensional process in which both the interpreter and the interpreted object become the subject of study.
This process is not a superficial observation or view of something; its goal is to express the structure, form, and truth of its subject as it truly manifests itself. The goal of hypercubism is to describe reality as it appears through its structures, not as it superficially appears from a single perspective. The method of hypercubism consists of three main stages:
- Analyzing and deconstructing the subject
At this stage, the object, such as the arrangement examined earlier, is examined as a structure, not as an image. The structure takes into account existing regularities as well as the characteristics and interactions of the things and factors manifested in the object. How information manifests itself and how information interacts. Deconstruction does not mean dismantling, but rather recognizing structures, order, meaning, and purpose. It does not matter how things and factors appear in the arrangement, but rather how they affect the arrangement through their structures and characteristics.
This is also a process of self-exploration. How the interpreter understands these things and factors, and how this deconstruction interacts with the process itself through personal thought structures. As the subject deconstructs itself, so does its interpreter.
- Studying and understanding the subject
The object is studied from different perspectives and angles simultaneously. Structures are made visible, but they are also understood. Every geometric shape, light and shadow, and the characteristics of things and factors are examined thoroughly and consistently. An understanding of the whole is constructed as such, but also broken down into the smallest possible parts as an exploded view. A conceptual floor plan, idea, and thought about truth and the perfection of essence and form are constructed for the subject.
The interpreter also carries out a similar process with themselves. Their understanding of their attitude and ways of thinking and implementing their vision grows during the structural research. With the help of the mind and thought, the dismantling of objects is not just a physical research-based verification of facts, but a conceptual process in which the objects and factors manifested in the object must be thought of as different parts through one’s own personal thought structures.
- Constructing and reorganizing the object
As things, factors, characteristics, and structures become visible, they are organized and constructed into a new whole that corresponds to personal understanding. This whole does not correspond to the original observation of the object, but rather to a multidimensional structure that is as truthful as possible in accordance with its actual characteristics and structures. When constructing the object, we no longer imitate the view of our third dimension, which is observable to others, but rather a whole that describes our own structural reality, which is a system in itself. In this system, layers, dimensions, things, and factors interact with each other. Materials serve as clues, history, and memory for the work. The work is at once real material, conceptual, and, in terms of matter, a continuation of existing information.
From the interpreter’s point of view, this stage is both a reconstruction and the end result of a conceptual process once the vision and the work are complete. However, it is only one research process that is repeated several times on the same subject.
The method of Hypercubism makes its basic idea clear. Hypercubism does not seek a representational surface, but rather the truth of structure, essence, and form. The process does not attempt to understand what the work represents, but rather to reveal the true structures of our reality. If we are passionate about finding the truth of form and essence, it would be highly unlikely to succeed on the first attempt. The implementation and construction of hypercubism is synonymous with repetition.
Principles
- The structures of our reality are the foundation of truth
Our reality is not built on visible forms and images, but on its structures. A hypercubist work is constructed to express its structures behind the image. In the work, the surface is represented by the last layer, not the first.
- The overlapping layers make the structures visible
The layers that intersect and overlap each other do not destroy the work. They highlight the dimensional order that appears in the work. As the layers open up and overlap each other, they reveal things and factors that would have remained unseen on a two-dimensional surface.
- Shadow is not just an element, it is part of the language of the structure
In hypercubism, shadow is not a visual effect. It is part of the structure of the work and a feature that makes the multidimensionality of the work visible. Shadow makes the layering visible and creates an interactive element in the work. In this case, the shadow, which has already been depicted from the original setting, takes on a new shadow that is superimposed on the original. This creates a multidimensional experience that uses light and shadow to construct a multifaceted whole. Shadows make the interaction between different elements and factors in the work visible.
- The material has its own history, meaning, and purpose
Material is not just a neutral factor in the construction of the end result. Material serves as evidence of the journey of matter, its history, and its meaning and purpose. Worn recycled materials and the memories they reveal in the form of wear, dents, and scratches show that the material has lived. This material is used to describe and remind us of our structural reality in the work, as an element that has seen life. This used material has served its purpose, and now it makes its purpose visible by depicting itself.
- Repetition is a process of exploratory learning, not self-copying
Studying the same subject and theme is a learning process towards personal expression, but also towards increasing understanding of ways of doing and thinking. The structure is analyzed and interpreted from different perspectives and angles, deconstructed and reconstructed in new ways through insight and understanding. The works evolve, as do ways of thinking and acting.
- The work is created through a process-like series of stages, not from a finished plan
In Hypercubism, there is no ready-made plan for the work, but there are guidelines for its implementation. The work is created through a multi-stage process of research, deconstruction, and reconstruction. The finished work is only a note, not an aesthetic decision. The work is left behind and a new work is begun based on previous insights. This is circular thinking, which aims at process-oriented learning and insight.
- Structure is more important than external form
A work is not successful based on how it looks, but on how coherent it is. Hypercubism rejects the pursuit of illusion and emotional confusion and aims for coherent and structural truth.
- A structural object is not just a subject, it is a system
Still lifes do not serve as inspiration because of their spectacular nature. They are structural starting points, objects to be analyzed and studied. Simply deconstructing a single still life multiple times and processing and analyzing it from many different perspectives makes the object itself an endless source of fuel for the research process. The diversity of the process is directly proportional to the diversity of the perspectives of the interpreter.
- The work is not an external reality
A hypercubist work does not seek to depict our visible reality. It constructs its own reality through the truth of its structures. The repetition of the works, the layers, shadows, and elements supporting multidimensionality form a whole that compares itself to itself, not to anything outside itself.
- The honesty of structures is more important than aesthetics
In hypercubism, a work does not hide what it is. If a structure needs to be visible, then the structure is realized. In hypercubism, beauty is not a superficial technical factor, but a structurally consistent truth.
- The process makes itself visible
In a hypercubist work, the result of the work is visible and allowed to be visible. The unevenness, holes, and dents of recycled materials, the perfection brought about by imperfection. These are not flaws, they are part of the truth of the structures of our reality. Materials wear out, just as people wear out, and this is visible. Hypercubism does not attempt to hide this fact. The process is as much a part of the work as the final result.
- Nothing is left unseen
Hypercubism shows the truth, regardless of its ugliness or unpleasantness. If structures are a significant part of the study of the subject, they are shown.
Vision
Hypercubism is the result of nearly ten years of self-exploratory creative process, the last five years of which have been spent intensively studying it through painting. Reality has never appeared to me as a flat surface to be interpreted, but rather as a multidimensional process to be explored. I have seen the structures and layers of our reality, as well as the factors that hold it together. Today, I am able to put this into words. Hypercubism is not a continuation of any previous movement, even though cubism has been its greatest inspiration. It does not try to please or fit into the accepted frameworks of contemporary art. Hypercubism creates a new direction, a new way of thinking and relating, because our modern age demands truly radical change.
Contemporary art is all talk and no action. It no longer opens up anything and has nothing new to offer, only incoherent and uninspired illusions of some great understanding. Everything is just copies of each other or vague, hasty messes that we call contemporary art and the contemporary artistic continuum. Contemporary art has no conceptual structure or philosophy, but explains itself through fancy terms and general approval. Hypercubism acts as a counterforce to this thoughtlessness. Hypercubism reveals what contemporary art is unable to express: the truth of structure and true form. If a work does not dare to reveal its inner philosophy or idea, is it then honest or artistically valuable?
The vision of Hypercubism is simple. A work must withstand honest examination from every angle and perspective. It must reveal the structures that underlie everything, both visually and conceptually. The work must correspond to the artist’s way of thinking, not to the views or interpretations of outsiders. The artist must take responsibility for constructing and expressing their ideas.
Hypercubism is a new structural way of thinking, exploring, and examining the creative process. The work is no longer just an interpretation, but creates its own reality with its structures. When examining structures, the works function as repetitions, not copies of each other. A single theme can be constructed into many different parallel realities, which change along with the creator as their understanding grows and they learn new methods during their research.
The future of art is not a smooth or aesthetically pleasing surface or a single conceptual perspective, but an intellectual, self-constructing whole. Our reality occurs in a moment where dimensions interact, revealing themselves to each other and to the interpreter. When we reach the point where we no longer think about what things look like, but what they really are, we have arrived.
Hypercubism does not ask for permission; hypercubism manifests itself. Hypercubism is a tool with which the structures of reality can be dismantled, rebuilt, and made visible.
The vision of Hypercubism is not a new art movement, but a new way of seeing, interpreting, dismantling, and reconstructing reality. Hypercubism breaks away from two-dimensional thinking and viewing reality only as an image. The interpretation of an image is not just a window, it is a structure that constructs reality together with its interpreter.
The goal is to create a new system to replace old and impractical ways. Hypercubism restores self-exploratory processes in relation to both the individual and creative processes. Hypercubism reveals a method that, in all its simplicity, shows everyone the possibility of exploring structures both within themselves and in the surrounding reality. Hypercubism makes the results of these explorations visible.
Hypercubism makes visible everything that contemporary art keeps hidden. Reality is not just superficial forms or perceptions of beauty; this surface is made possible by the structures beneath it. Hypercubism is like a parent teaching their child how to tie their shoelaces.
The vision is to build a way of seeing, processing, and doing that isn’t satisfied with just one perspective or angle. It’s a creative process that doesn’t imitate a superficial observation of reality or an emotional performance, but rather intellectual art that strives for structural consistency. Art that is both a personal introspective process and a repetitive, scientific research project.
Hypercubism is not a movement, but an illustrative and research-based system that can be applied endlessly in terms of material, space, interpretation, experience, and thought. Hypercubism needs nothing but its interpreters and implementers.
Hypercubism will be an honest view of our reality. It does not bow down, flatter, or please. Hypercubism will tear down the thick cloak of dishonesty that covers contemporary art and reveal the superficial and artificial frenzy of our times, offering it a chance to recover from the sickness of this era of laziness and insignificance.