User:Convict Inky-Zero/Graphedelic

Graphedelic – Artwork origins and movement methodology.
Graphedelic work or Graphedelia can be described as being hippy (ideologically) and trippy (visually) in nature and / or holds reference to visual hallucinations which could be the source of inspiration for such work as is with a lot of psychedelic imagery, the promotion of creating through altered states of mind is encouraged. Imagery such as magic mushrooms, Ganja leafs or acid tab smileys are amongst the visual references that pop up in said works. Artwork that embraces the aesthetic has been present in some shape or form since the early 90’s but lacked true definition till its original definition in the early 00’s

Although strongly rooted in graffiti it is not a variation or style of graffiti as it is legitimate whether it has been created illegally on the street or within the confines of an art gallery. Some graphedelic purists believe they should totally dissociate with the term street art which is completely paradoxical in nature to begin with (“if street art is viewed in a gallery how can It be street art?” etc.). Most would argue the point that street art / graffiti is not just about the visual aspect it is also about the cultural value it communicates (strong association with hip-hop culture / guerilla art etc.). In similar vein graphedelics not only validates via visual style but also methodology and content (this comparison can be drawn to previous similar ethos’s such as the abstract-expressionists) further more works deemed graphedelic in nature can also be composed digitally and hence transcend any notion of street, canvas and enter the ethereal realm of one’s and zero’s.

The other distinguishing feature is that it is not strictly created with spray paint in actual fact graphedelic works are not restricted to any sort of medium or drawing style / system, what makes the (art) piece graphedelic is the nature which binds the work / artist / audience - notably the methodology of its creation.

The term Graphedelic originally penned by artist Vinni Kiniki who felt his own visual style did not fit neatly into the street art label, nor could it easily identify itself within contemporary emerging paintings and graphics. His style subscribes to sensibilities of existing and previous movements but does not fit neatly into any which one of them, styles and sensibilities including; Graffiti, Wild-style, Pop-Art, Futurism, Psychedelic, Fauvism, Expressionism, Anime, Abstract-expressionism and also comic book art. However the clearest and most easily accessible labels drew towards graffiti due to the bold and angular outlines and psychedelic art due to its intricate patterns, vibrant colourings and frequent references to drug culture.

Due to the lack of any blatant typographical or lettering references or inclusions it was not graffiti, although it can be argued that many of the characters contained within the work have a graffiti element to their style. However the work transcends the graffiti label and due to the intricate angular linings and mish mash of styles it was too aggressive and turbulent to be considered psychedelic. When asked in an interview how he defines his style he responded with the term “graphedelic” however spellings on his promotional and online publication would vary the terms spelling (Graffadelik, Graphedelia, Graphedelikz)

Above all Graphedelics seeks to evolve existing styles through play and collaborative exploration and invites an audience to be present as part of the works creation. The audience however untrained may even become the participant. This introduce a new dimension to typically 2D artwork, allowing it to become a performance, a happening, an interaction and if filmed a time-based medium.

Although there are clear outlines to the graphedelic movement the art is of a non-committal nature, it may choose to change its nature at any given point in time allowing it to transcend time barriers The art science of graphedelics is more akin to the theory of genes and memes where the gene / meme pool is constantly changing and the therefore the productive output changing. This is encouraged through playful collaboration and cross breeding of styles. The theory being that existing styles that withstand the test of time will be strengthened and by allowing sometimes random and ego-free interaction through collaboration new mark making systems and styles can be uncovered. For more information please visit the Graphedelic-Movement Group on Deviant Art.

GRAPHEDELIC MANIFESTO
Graphedelic / Graphedelia / Graffedeliks

Graphedelic put simply is a visual art style and system with strong roots in (but not limited to) graffiti and psychedelic imagery and/or culture, it places equal value on the journey towards creation as the finished article itself, this includes (but is certainly not limited to) the following attributes (all points are explained below):-

1. Vibrant mesmerizing colours and intricate trippy patterns, shapes within shapes, forms within forms.

2. A multidisciplinary approach which permits any combination of strokes / line styles / drawing systems / mark making methods and mediums to be used.

'''3. An ego-free freestyle approach to artwork creation which encourages participation and collaboration. Any input is valid input.'''

4. Any method of enhancing cohesion between the collaborators and harmony of styles is encouraged but is not a necessity.

5. Creation of Graphedelia is encouraged while an audience is present and / or as a part of a collaborative happening between artists.

>>>> GRAPHADELIC MANIFESTO - POINTS EXPLAINED IN DETAIL <<<<<<
1. Vibrant mesmerizing colours and intricate trippy patterns, shapes within shapes, forms within forms.

The colours frequented by graphedelics are typically: bright, neon, luminescent, fluorescent, glowing, radiant, phosphorous with darker colours such as black being saved to create a bold graffiti style outline to bring out forms from the mixture of colours. Often on closer inspection; a sea of seemingly incomprehensible spaghetti composed of forms, shapes or colours will present hidden and distinguishable characters, intelligible forms and / or messages. The vibrancy and movement of the pieces makes a strong visual comparison to hallucinatory states reported which have been induced by methods such as meditation, drug taking, brain chemical imbalance, Synaesthesia, strong imagination etc.

2. A multidisciplinary approach which permits any combination of strokes / line styles / drawing systems / mark making methods and mediums to be used.

It is not uncommon for one piece to contain many different drawing and mark making systems - especially due to its collaborative nature and eclectic mindset of the artists. Imagine what pop art is to referencing cultural imagery, graphedelics is to referencing upon previous drawing systems / line styles. Mixing styles in this nature is encouraged because it increases chance of visual evolution and discovery of new forms by experimentation and mutation.

What separates graphedelics to other previous art movements is that it not only allows references to any socio-cultural imagery but also can and does reference stylistically for example adopting line styles and drawing systems adopted by other artists and movements.

Any medium / style / technique / format / method can be adopted as long as it adheres to the core principles and sensibilities of the movement. For example a video recording of the creation of an art piece graphedelic in nature would make the resulting video a graphedelic art work in time based format. The same could be said about a fashion shoot using graphedelic clothing / make-up / scenery etc.

Imagine art styles as genes whilst the canvas can be seen as a gene pool, cross breeding of styles creates new species and also helps refine and evolve existing styles.

'''3. An ego-free freestyle approach to artwork creation which encourages participation and collaboration. Any input is valid input.'''

Graphedelic artwork is potentially never finished – there is always room for evolution. There may be a pre-agreed or an expressed opinion of where the finishing point occurs – however the nature of the art is to go through many different shifts and phases during its lifecycle from the initial emptiness. The same space used can be interpreted in many different ways by the artists participating on it and due to the ego free nature forms and shapes will be created, covered, discovered, uncovered, covered and then re-discovered throughout the lifecycle of the art work, this may happen over a period of set hours or over the course of many decades. It is dependent on the whim of the artist participant to follow on from the previous artist working on that given space of the piece.

Due to the ego free nature of Graphedelia the exchange of ideas in real time by action / creation / response can lead to visual formats not possibly fathomed by the participating artist(s) otherwise. In similar fashion an artist working alongside others may chose to adopt a range of attitudes towards his fellow collaborators (eg. passive, symbiotic, destructive, additive… ) and it is this role play that can lead to the creation of new styles. When the ego of the artist is destroyed more room is made for sporadic creation.

The non-ego approach states that every person holds equally validity in regards to expressing themselves visually. Allowing people who are regarded as “non-artistically-inclined” can help promote and discover styles previously unknown and can help the collective artistic gene pool flourish, however the contributors efforts may be deemed offensive or destructive to the piece by fellow collaborators in which case their existence (within the piece) will be either completely wiped clean or will be formatted and/or edited leaving little or no resemblance to the initial addition.

4. Any method of enhancing cohesion between the collaborators and harmony of styles is encouraged but is not a necessity.

Although every artist will bring their own agenda and style to the art piece being created cohesion and harmony can be promoted within the creation process and the art piece through the use of ‘communal systems’. These can include but are not limited to:-

- Group stimulant taking - Group meditation - Group mental mindset (eg. Desired visual goal) - Group behavioral trance (eg. Loud music) - A drawing / behavioral guideline or rules

Suffice to say that in some situations the very nature of the location where the work is created will be enough to influence the artist to work in one cohesive fashion reflecting their (joint) surroundings through the artistic output.

5. Creation of Graphedelia is encouraged while an audience is present and / or as a part of a collaborative happening between artists.

During the process of creation the artwork goes through many stages (where forms and styles are discovered, covered, and uncovered) looking at the end result may not paint the full picture. The process that was adopted in its creation is equally as important and enjoyable as the end result and should be considered an art in its own right. Excluding this moment of creation from public communication is non-beneficial to the overall effect of the art and the connection that exists between artwork and audience. This should be considered the downfall of other existing art styles (with the exception of some).

Allowing people to be present during the creation (of artwork) ads an extra level of bond and integration between the viewer and creator and artwork. It solidifies and helps the viewer clarify his/her response to the art piece.

If the finished result is bad but the process was beautiful what is more important, the hanging of the finished piece on a wall or the understanding and joy the viewer receives and the (instant) organic feedback that the artist received from the audience?

 VISUAL EVOLUTION THROUGH ECCLECTIC FUSION AND COLLABORATIVE PLAY

--Convict Inky-Zero (talk) 01:18, 16 January 2010 (UTC)