The current conceptual movement leaves nothing to the desire for illusion
The title of Hyperhybrids is inspired by the hyper-reality concept of French philosopher Jean Baudrillard. The series of objects seeks to define its own territory by means of distinct shape and surface treatment. Formally, the Hyperhybrids distinguish themselves against a suspension painting, yet their content level is based, above all, on the dialogue with the whole “group” of art, not necessarily merely on distinguishing against figurative or abstract painting. The aim of the cycle is to point out the inability of the current art to operate outside the historicising apparatus of the theory of art and the loss of our ability to read outside aesthetic norms. The Hyperhybrids structurally integrate their physical frame and acquire an industrial character of “designer products without a clearly determined function”. They thematise the ambivalence between depicting and abstracting, while also contesting the level of objectivity of the contemporary interpretation apparatus. Where does the picture frame start and end? And in the contemporary art, to what extent may the elements of variability, composition or perspective be substituted?