A.P.Polo - Hypokeimenon

LIMITED EDITION of 50

A P POLO

# 414040

A.P.POLO - HYPOKEIMENON

Name: A.P.Polo - Hypokeimenon by A P Polo Wall Art
Brand: Pictorem
SKU: 414040
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A.P.Polo - "Hypokeimenon" - Hamburg (Germany) - Painting /New Media Art. Abstract, contemporary work that is characterised by its colourfulness and a...[+]

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A.P.POLO - HYPOKEIMENON A P POLO Canvas Print

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Ready to hang - Stretched on 1.5" inch thick pine wood - Gallery style

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A.P.Polo - Hypokeimenon Split Canvas print

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51 x 41 cm

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62 x 49 cm

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30 x 23 inches

77 x 59 cm

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108 x 85 cm

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123 x 95 cm

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55 x 43 inches

141 x 110 cm

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60 x 47 inches

154 x 121 cm

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Acrylic Print with Stand off

Printed to the edge - Ready to hang - provided with 4 premium polished aluminum stand off ( wall screws and mounting hardware provided )
We suggest a thicker 3/16" acrylic for any size over 42 inches to guarantee a straight acrylic, without curvature

1/8" thickness

3/16" thickness

1/8" Thickness:

20 x 16 inches

51 x 41 cm

1/8 with 4 metal stand off

^$471

24 x 19 inches

62 x 49 cm

1/8 with 4 metal stand off

^$599

30 x 23 inches

77 x 59 cm

1/8 with 4 metal stand off

^$819

36 x 28 inches

92 x 72 cm

1/8 with 4 metal stand off

^$1119

42 x 33 inches

108 x 85 cm

1/8 with 4 metal stand off

^$1476

48 x 37 inches

123 x 95 cm

1/8 with 6 metal stand off

^$1843

55 x 43 inches

141 x 110 cm

1/8 with 6 metal stand off

^$2862

60 x 47 inches

154 x 121 cm

1/8 with 6 metal stand off

^$3291

3/16" Thickness:

20 x 16 inches

51 x 41 cm

3/16 with 4 metal stand off

^$645

24 x 19 inches

62 x 49 cm

3/16 with 4 metal stand off

^$807

30 x 23 inches

77 x 59 cm

3/16 with 4 metal stand off

^$1087

36 x 28 inches

92 x 72 cm

3/16 with 4 metal stand off

^$1467

42 x 33 inches

108 x 85 cm

3/16 with 4 metal stand off

^$1918

48 x 37 inches

123 x 95 cm

3/16 with 4 metal stand off

^$2384

55 x 43 inches

141 x 110 cm

3/16 with 6 metal stand off

^$3551

60 x 47 inches

154 x 121 cm

3/16 with 6 metal stand off

^$4095

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Brushed Metal Print

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Brushed Metal Print with Stand off

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A.P.Polo - Hypokeimenon HD Sublimation Metal print

A.P.Polo - Hypokeimenon HD Sublimation Metal print with Decorating Float Frame (BOX)

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A.P.Polo - Hypokeimenon A P Polo Puzzle printing

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This artwork is Made with high-quality acrylic Ready to hang.

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ABOUT A P POLO fs
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ABOUT THIS ARTWORK: A.P.POLO - HYPOKEIMENON
A.P.Polo - "Hypokeimenon" - Hamburg (Germany) - Painting /New Media Art. Abstract, contemporary work that is characterised by its colourfulness and attention to detail and which, due to the artist's psychedelic experiences, is based on metaphysical considerations that ultimately led to the title. This work must be classified as visionary art. Hypokeimenon (Greek hypokeímenon; Latin subiectum or substratum, "the substratum", "the underlying", "the carrier") is a term from ancient Greek philosophy. This term is first found in Anaximander and Anaximenes, but also in Democritus. The term does not yet unfold its full spectrum in Plato, but only in Aristotle (especially in the Categories). Hypokeimenon, later often material substratum, is a term in metaphysics which literally means the "underlying thing". To search for the hypokeimenon is to search for that substance that persists in a thing going through change—its basic essence. For Aristotle, hypokeimenon denotes that of which something is stated, because it persists as the underlying thing - as substrate or subject - in the change of states. Everything else is said of the hypokeimenon, but it itself is not said of another. The hypokeimenon is in itself completely free of all determinations (properties). Because of its own lack of properties, it is suitable to be a carrier of various additional properties. In particular, the substrate is the indeterminate matter that takes on changing forms. Boethius translated the Greek word hypokeimenon into Latin as subiectum. The Latin subiectum was originally understood as a constantly present thing (also the sentence-subject in grammar). It was not until the French philosopher René Descartes that it came to refer to the ego, which for him became the indubitable basis of all further knowledge. The existence of a material substratum was posited by John Locke, with conceptual similarities to Baruch Spinoza's substance and Immanuel Kant's concept of the noumenon (in The Critique of Pure Reason). Locke theorised that when all sensible properties were abstracted away from an object, such as its colour, weight, density or taste, there would still be something left to which the properties had adhered—something which allowed the object to exist independently of the sensible properties that it manifested in the beholder. Locke saw this ontological ingredient as necessary if one is to be able to consider objects as existing independently of one's own mind. The material substratum proved a difficult idea for Locke as by its very nature its existence could not be directly proven in the manner endorsed by empiricists (i.e., proof by exhibition in experience). Nevertheless, he believed that the philosophical reasons for it were strong enough for its existence to be considered proved. Aristotle starts from the question of how becoming is possible. Becoming in this sense means both emergence and change. The Eleatics had argued that becoming could take place neither out of an absolute being nor out of an absolute non-being. Therefore, Aristotle assumes a middle between being and non-being as a prerequisite for becoming to take place in the opposition of being and non-being. For Aristotle, this mediator, from which becoming proceeds, that is, that from which something becomes, must be something that is only possible. He calls this enabling and thus underlying element of becoming matter. Accordingly, everything that comes into being or changes (whether by nature or by human art) must have matter in it. When a certain form is added to matter and combines with it, a thing comes into being. Matter, as that from which something becomes, offers the becoming the possibility of being or not being. Thus ore is a substance from which a statue may or may not come into being. As abstract principles, form and matter are unoriginated and imperishable; real and concrete, they do not exist on earth independently, but only together in their various arising and passing compositions, which constitute things. These compositions are subject to incessant change. Composition of matter and form is for Aristotle synonymous with changeability. Four types of matter correspond to the four types of change that Aristotle distinguishes. Substantial change is becoming and passing away. This is not a matter of an already existing substance taking on new accidental determinations, but of a substance itself coming into being anew. To this change corresponds a matter of becoming and passing away. Likewise, quantitative change (growth and decrease), qualitative change and change of place each correspond to an associated matter. For the celestial bodies, to which Aristotle ascribes substantial immutability, he assumes a matter of change of place to explain their local movement, but not a matter of becoming and passing away. With the substantial becoming and passing away are necessarily connected the other kinds of change, but not vice versa. Therefore, the presence of the matter of substantial becoming includes the presence of the other kinds of matter. Where all kinds of matter are present, they do not coexist in reality, but are only separated from each other in concept. For hylemorphism, only substantial matter, matter in the true sense, is of importance. For Aristotle, the soul is the principle of movement. Therefore, "soul" movements such as emotions, perceptions and intellectual activity are not movements of the soul, which as a principle is immutable, but movements of the animate human being. The soul itself is immobile, it does not come into being and does not pass away. Therefore, in and of itself (independent of the body) no matter comes to it; it is pure form, and the matter assigned to it is that of the physical body. In Aristotle's philosophy, hylemorphism thus extends to the human being, but not to the soul as such. In the Islamic world, the philosopher Avicenna assumes a common matter of all bodies, i.e. he does not, like Aristotle, assign a different kind of matter to the heavenly bodies than to earthly substances. Averroes, on the other hand, defends Aristotle's position. In the High Middle Ages, the Jewish philosophers Isaac Israeli and Solomon ibn Gabirol (Avicebron), who lived in Muslim Spain, introduce a significant innovation. They assume a universal matter that exists in the spiritual world (with the exception of God himself) as well as in the physical. This universal matter manifests itself for ibn Gabirol in three ways. In the purely spiritual realm, it combines only with the substantial form (without quantity). In the celestial bodies, it is determined by both substantial form and quantity. In the earthly bodies, the principle of opposites is added. In ibn Gabirol's opinion, form and matter can never exist separately from each other, but are only separated mentally for the purpose of analysis. With this model, ibn Gabirol, whose main philosophical work "Source of Life", written in Arabic, had been translated into Latin in the 12th century, became the most important initiator of universal hylemorphism among Latin-speaking Christian scholars (scholastics) of the late Middle Ages. Scholars from the "Franciscan school" belonged to this direction above all. Prominent representatives of universal hylemorphism were the Franciscans Alexander of Hales, Bonaventure and Roger Bacon as well as the Dominican Robert Kilwardby. Opponents of this doctrine were both the Thomists, the followers of Thomas Aquinas, and the Averroists; these two directions, which otherwise fought each other, held to the traditional position of Aristotelianism on the question of spiritual matter. These opponents, however, did not fight hylemorphism as such, which they rather advocated as Aristotelians themselves; they only opposed its universal variant, which ascribes to the soul and the "intelligences" (angels) their own spiritual matter. Among the notable opponents of universal hylemorphism were William of Auvergne, John of Rupella, Albert the Great and Henry of Ghent. Visionary art is art that purports to transcend the physical world and portray a wider vision of awareness including spiritual or mystical themes, or is based in such experiences. The Vienna School of Fantastic Realism, first established in 1946, is considered to be an important technical and philosophical catalyst in its strong influence upon contemporary visionary art. Its artists included Ernst Fuchs, Rudolf Hausner, Arik Brauer, Wolfgang Hutter and Anton Lehmden among others. Several artists who would later work in visionary art trained under Fuchs, including Mati Klarwein, Robert Venosa, Philip Rubinov Jacobson and De Es Schwertberger. Visionary art often carries themes of spiritual, mystical or inner awareness. Despite this broad definition, there does seem to be emerging some definition to what constitutes the contemporary visionary art 'scene' and which artists can be considered especially influential. Symbolism, Cubism, Surrealism and Psychedelic art are also direct precursors to contemporary visionary art. Notable visionary artists count Hilma af Klint, Hieronymous Bosch, William Blake, Morris Graves (of the Pacific Northwest School of Visionary Art), Emil Bisttram, and Gustave Moreau amongst their antecedents.

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