The radicality of object art consisted of converting the plastic elements of illusion in art light, space and scale —into actual properties lacking any imaginative, subjective or transcendental dimension. No in- tercession by the imagination was required to infer them as realities because they were a priori "real".
Edge had to be literal and not drawn so as not to suggest illusion; shape and structure
had to coincide with one another to proclaim themselves as sufficiently "real" for painting to satisfy the requirements of radicality.
In all of these cases, the representation of an image never invokes naive illusionism; to remain valid as a modernist concept, figuration is rendered compatible with flatness.
The difference between a painting that is composed, a process of addition and subtraction, and one that is constructed,through a structuring process that takes into consideration the architecture of the frame, continues to be a primary consideration.
The difficulties of reconciling figuration, the mode of depicting images.
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Ephemera signaled
Proclivity to act first, think later.
to materialize an image