Hyperrealism vs. Rumpeltonian Cubism
On one side, Hyperrealism — the art of vanishing.
Brushstrokes disappear. The hand disappears. The painting becomes so precise it impersonates a photograph. Every pore, every reflection, every wrinkle is rendered with surgical devotion. The goal is illusion. The triumph is invisibility.
On the other side, Rumpeltonian Cubism — the art of glorious malfunction.
Where hyperrealism smooths the world into flawless surface, Rumpeltonian Cubism fractures it. Perspective wanders. Eyes drift. Noses negotiate their own terms. The hand of the artist is not hidden — it is loudly present, waving from the corner saying, “Yes, I did this.”
Hyperrealism asks:
Can a painting become indistinguishable from a photo?
Rumpeltonian Cubism asks:
What happens when the photo refuses to cooperate?
Hyperrealism perfects the visible.
Rumpeltonian Cubism interrogates it.
In hyperrealism, reality is polished.
In Rumpeltonian Cubism, reality is rearranged.
One says, “Look how real this is.”
The other says, “Look how real this feels.”
And somewhere between a perfectly rendered eyelash and a heroic misaligned nostril…
is the human being.
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