Introrealism

Introrealism: from Latin intro - "to the inside" + Late Latin realis - "real"

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.

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.

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 imagination, meditative contemplation, even lucid dreaming. 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.

Crux

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.

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.

Introrealism vs. Surrealism

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.

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.

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.

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.

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.

St. Louis
2018

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.

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.

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