THE TEMPORALITY OF PAINTING IN DIGITAL MOVING PAINTING
DOI:
https://doi.org/10.55197/qjssh.v7i4.1164Keywords:
painting, temporality, digital, movingAbstract
How painting suggests the presence of time is one of the key issues that both artists and theorists have focused upon. Unlike the diachronic conception of time, which unfolds sequentially through past, present, and future, the conception of time in painting exhibits a synchronic quality. Namely, past, present, and future are integrated into an original synthesis, mutually overlapping and permeating one another. This is the core distinction between painting in its representation of the concept of time and photography or film. Generally speaking, the visual expression of painting is static. Through the repeated layering of pigments, materials, brushstrokes, or the composition of positive and negative space, the artist evokes the concept of time through features of synchronicity. This study attempts to identify a category of digital moving images wherein visual elements on the screen exist in a cyclical state of overlapping and permeating one another. The evolution of these visual elements defies clear distinction regarding their sequence of appearance, thereby dissolving the boundaries between past, present, and future. Such works enable the temporal dimension of painting to be dynamically depicted, thereby suggesting that painting history may need to consider incorporating a new paradigm of painting expression.
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