Dialogue – Conceptual and Philosophical Framework

My project, “Dialogue,” unfolds as a process-based artwork that transcends homage to Van Gogh to become a philosophical meditation on the very nature of art in the age of digital hybridity. Starting from “Sunflowers Gone to Seed,” I deliberately avoid the explosive vitality of blooming flowers to focus on a twilight moment in the life cycle—an instant suspended between death and the promise of rebirth. It is the perfect anchor point for a reflection on duality.

I. Philosophical Concept: The Dialogic Triad as Creative Matrix

At the core of my practice lies a redefinition of dialogue—not as an exchange between two entities, but as a dynamic, cyclical triad:
the Artwork, the Viewer, and the Artist.

1. The Artwork as an Activation Device

“Dialogue” is not a static, finished art object. It is a device—its hybrid nature (physical painting + digital animation) forms the first layer of dialogue:
an exchange between the permanence of the painted gesture and the ephemeral fluidity of the pixel.
The artwork speaks to itself, oscillating between materiality and immateriality.
It embodies the tension between heritage (Van Gogh, painting) and the contemporary (digital media, motion).

2. The Viewer as Co-Creator of Meaning

The viewer is not a passive receiver.
The subrealist abstraction forces them to let go of figurative recognition and enter a space of contemplative listening.
The minimalist, cyclical animation invites extended observation.
It is in this long duration that the dialogue begins.
The viewer projects their own memories, anxieties, and hopes onto the gestural forms.
Meaning does not reside in the artwork—it emerges through the encounter.

3. The World as Resonant Context

The triad is completed by cultural, historical, and personal context.
Van Gogh’s work already carries a collective imaginary (genius, madness, passion).
My reinterpretation adds the lens of our time: digital subculture, image saturation, the search for meaning in a fragmented world.
“Dialogue” asks:
How can a work born of solitude and materiality converse with a culture of hyperconnection and dematerialization?

II. Artistic Embodiment: Hybridization as Language

The strength of my proposition is that technique is not merely a medium—it is the concept itself.

• Acrylic Painting on Canvas (The Grounding)

The photographed physical base represents heritage—the “earth” from which the dialogue emerges.
The gestural strokes of abstract expressionism are a direct homage to Van Gogh’s energetic touch (ductus).
It is the body, the material, the indelible trace of the past.
It is a conversation with art history, an act of physical memory.

• Digital Painting and Animation (The Reinvention)

The digital overlay is the “re-reading”, the contemporary voice.
The frame-by-frame animation, minimalist and meditative, is like a breath or digital heartbeat pulsing through the dying flower.
It becomes the “ghost in the machine”, the spirit animating the matter.
It is not mere illustration, but a temporal interpretation.

This fusion creates a poetic augmented reality.
The viewer can no longer tell where the physical gesture ends and the digital intervention begins.
This blurred boundary is precisely where the dialogue takes place.

III. Symbolic Scope and Integration into the "Xanthopsia" Collection

1. Dialogue with Digital Subculture

My work is natively hybrid, like digital culture itself—constantly remixing, sampling, and reinterpreting the past.
It speaks the language of GIFs, hypnotic loops, generative art, where originality is born through transformation.
By presenting a work that exists both as a unique object (the canvas) and an infinitely reproducible digital entity (the animation), I question the notions of authenticity and aura in the digital age.

2. “Xanthopsia” – Yellow Vision as Interpretative Key

The “Xanthopsia” collection provides the philosophical lens for this work.
It is not merely a reference to Van Gogh’s iconic yellow or a possible medical condition—it is a perceptual decision.
It is the choice to “see in yellow”—to find light, energy, and hope even in subjects that symbolize decay and ending (“Sunflowers Gone to Seed”).

“Dialogue” becomes the embodiment of this altered vision.
The digital animation becomes the literal yellow light pulsing through the piece—positively contaminating the darker, more melancholic physical painting.
The dialogue is between shadow and light, melancholy and utopia, end of cycle and the promise of the next.

Synthesis

“Dialogue” is not simply a reinterpretation of a Van Gogh painting.
It is a mise en abyme of the creative and perceptual process itself.

• Philosophically, the work theorizes and enacts a conception of art as an active conversation between historical materiality (canvas, Van Gogh), interpretive consciousness (the viewer), and the immaterial context of today (the digital, the Web).

• Artistically, it uses a hybrid mixed-media technique not as an effect but as the very language of that dialogue.
  The fusion of gestural painting and minimalist animation embodies the coexistence of tensions: permanence and flux, body and spirit, past and present.

Within the Xanthopsia collection, the work finds its final form:
It becomes an allegory of perceptual resilience.
It teaches us that to look at an artwork—especially one from the past—is not a passive act of consumption, but an active dialogue, a chance to project new light, a “yellow vision,” onto old forms to draw out renewed and deeply personal meaning.

In this way, my practice aspires to pay the deepest homage to Van Gogh:
not by imitating his style,
but by reactivating the timeless force of his pursuit of truth—through the tools, visions, and philosophical urgencies of our own era.

Homage to Van Gogh:

“Sunflowers Gone to Seed”
from the collection of the Van Gogh Museum

Hybrid digital version:

3840 x 2160 px / 4K MP4 / 117 MB / 8 fps / 1/1 edition on @objktcom