True Surrealism

I always held the idea that Surrealism was art that went beyond what we considered to be everyday reality to portray bizarre landscapes of the mind. If someone mentioned Surrealism I would picture Dali's Persistence of Memory and Discovery of America. When I saw a Magritte I would think to myself, Surrealism. I am sure that I am not so different from the rest of the population in my thinking. We have even adopted the word, surreal, to mean something that was beyond our normal perception of reality. History shows that the first person to use the word was Guillome Appolinare in 1917, "De cette alliance nouvelle, car jusqu'ici les décors et les costumes d'une part, la chorégraphie d'autre part, n'avaient entre eux qu'un lien factice, il este résulté, dans 'Parade,' une sorte de surréalisme." [Apollinaire, "Notes to 'Parade' "] It was intended to mean literally beyond reality: sur- "beyond" + réalisme "realism".

In 1924 we see it used again in a revolutionary document by Andre Breton: Surrealist Manifesto. This is a very interesting read, because the founder of Surrealism really never mentioned painting as a means of Surrealist creation, but more so focused on words as they flowed freely from the subconscious.

"Surrealism, n.m. Pure psychic automatism by which it is proposed to express either verbally, or in writing or in any other way, the real function of thought. Thought’s dictation in the absence of all control exercised by reason and outside all aesthetic or moral preoccupation." - Breton

According to the definition as outlined by Breton I don't see how the fabulous works of Dali could be classified as Surrealist. It is obvious that Dali planned out each of his masterpieces and even used models for reference. With so much preconceived thought about the work it cannot be True Surrealism. Of course there is no changing the name of his genre now that it has come to be so widely accepted, but we must note that the founder of the movement referred solely to the automatism of the subconscious as it flows from the source. Looking at the work of Ernst, Tanguy, Matta and Miro I can see the flow of which Breton is meaning.

By the definition put by Breton, my work is Surrealist, but I take it two steps further. First, my work is my interpretation of the actual function of thought, the literal description of what is going on energetically or magnetically during the process of thought as seen from a quantum nonlocal point of view. Second, I am making reverse Surrealist paintings. Not only have I connected to the automatism of my subconscious, but I am tapping into the subconscious of each viewer bringing the circle of artist and viewer to a beautiful spiral that expands infinitely. As I see it, each viewer becomes a Surrealist creator, for upon seeing my work the subconscious comes roaring to the surface with a flood, big or small, of images and feelings. Of course the flood can be stopped or stymied by the viewer, but initially, left unguarded the floodgates will open.

This information is very important to you for it shows you your state in Daementia.

When you look at my painting you are literally looking into yourself. If you feel nothing while gazing into one of my paintings, that is no matter because there are still changes on unperceived levels acting upon you. There is nothing to fear, because I am imposing nothing upon you for which you haven't already given permission. You must remember that you are always in control and have the ultimate say in every choice of every path.

You, the viewer of my work are experiencing a literal flow of subconscious automatism. You are the Surrealist creator. You are experiencing True Surrealism. Allow the flow to take its course and enjoy the process.

You may want to take advantage of one of several techniques I have created for use of my work.
Or not.

Please note that these digital images of my paintings do not carry the full psychometric energy that the originals do. I highly recommend using the original painting for any purposefull self exploration.

Derek K. Nielsen
25 October 2005

How do Nielsen's paintings change the past?