A.P.Polo - Bashoron

LIMITED EDITION of 50

A P POLO

# 521164

A.P.POLO - BASHORON

Name: A.P.Polo - Bashoron by A P Polo Wall Art
Brand: Pictorem
SKU: 521164
Availability: InStock

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A.P.Polo - "Bashoron" - Hamburg (Germany). Abstract, contemporary work that can be classified as concrete art and remotely deals with the mathematic...[+]

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Giclée Canvas Print

All our stretched Canvas are custom made on a Premium Fine Art Matte Canvas 410g/m2 1.5 Inch Thick wood for a real gallery look
Giclee printing with Pigment ink designed to meet galleries and museum longevity requirements and ensure consistency of shades 200 years old. [+]

A.P.POLO - BASHORON 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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^$477

24 x 20 inches

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30 x 25 inches

77 x 64 cm

1/8 - Back Frame Mount

^$889

36 x 30 inches

92 x 77 cm

1/8 - Back Frame Mount

^$1204

42 x 34 inches

108 x 87 cm

1/8 - Back Frame Mount

^$1537

48 x 39 inches

123 x 100 cm

1/8 - Back Frame Mount

^$2369

55 x 45 inches

141 x 115 cm

1/8 - Back Frame Mount

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3/16" Glossy:

20 x 16 inches

51 x 41 cm

3/16 - Back Frame Mount

^$654

24 x 20 inches

62 x 51 cm

3/16 - Back Frame Mount

^$848

30 x 25 inches

77 x 64 cm

3/16 - Back Frame Mount

^$1175

36 x 30 inches

92 x 77 cm

3/16 - Back Frame Mount

^$1575

42 x 34 inches

108 x 87 cm

3/16 - Back Frame Mount

^$1997

48 x 39 inches

123 x 100 cm

3/16 - Back Frame Mount

^$2942

55 x 45 inches

141 x 115 cm

3/16 - Back Frame Mount

^$3698

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" Glossy Acrylic

3/16" Glossy Acrylic

1/8" Glossy:

20 x 16 inches

51 x 41 cm

1/8 with 4 metal stand off

^$477

24 x 20 inches

62 x 51 cm

1/8 with 4 metal stand off

^$630

30 x 25 inches

77 x 64 cm

1/8 with 4 metal stand off

^$889

36 x 30 inches

92 x 77 cm

1/8 with 4 metal stand off

^$1204

42 x 34 inches

108 x 87 cm

1/8 with 4 metal stand off

^$1537

48 x 39 inches

123 x 100 cm

1/8 with 6 metal stand off

^$2369

55 x 45 inches

141 x 115 cm

1/8 with 6 metal stand off

^$2971

3/16" Glossy:

20 x 16 inches

51 x 41 cm

3/16 with 4 metal stand off

^$654

24 x 20 inches

62 x 51 cm

3/16 with 4 metal stand off

^$848

30 x 25 inches

77 x 64 cm

3/16 with 4 metal stand off

^$1175

36 x 30 inches

92 x 77 cm

3/16 with 4 metal stand off

^$1575

42 x 34 inches

108 x 87 cm

3/16 with 4 metal stand off

^$1997

48 x 39 inches

123 x 100 cm

3/16 with 4 metal stand off

^$2942

55 x 45 inches

141 x 115 cm

3/16 with 6 metal stand off

^$3698

Multi Panel Acrylic Print

Brushed Metal Print / Smooth White Metal Print

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Brushed Metal Print

Smooth White Metal Print

The areas of the photograph that are white or very light are not printed The white areas appear metallic.
Robust, very light and provides an amazing aluminum lighting effect [+]

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Brushed Metal Print with Floating Frame on the back

Printed to the edge & Ready to hang a floating frame and hanging wire

20 x 16 inches

51 x 41 cm

back frame mount

^$450

24 x 20 inches

62 x 51 cm

back frame mount

^$596

30 x 25 inches

77 x 64 cm

back frame mount

^$841

36 x 30 inches

92 x 77 cm

back frame mount

^$1141

42 x 34 inches

108 x 87 cm

back frame mount

^$1457

48 x 39 inches

123 x 100 cm

back frame mount

^$2268

55 x 45 inches

141 x 115 cm

back frame mount

^$2842

Brushed Metal 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 )

20 x 16 inches

51 x 41 cm

with 4 metal stand off

^$450

24 x 20 inches

62 x 51 cm

with 4 metal stand off

^$596

30 x 25 inches

77 x 64 cm

with 4 metal stand off

^$841

36 x 30 inches

92 x 77 cm

with 4 metal stand off

^$1141

42 x 34 inches

108 x 87 cm

with 4 metal stand off

^$1457

48 x 39 inches

123 x 100 cm

with 4 metal stand off

^$2268

55 x 45 inches

141 x 115 cm

with 6 metal stand off

^$2842

Direct print on metal to provide a white smooth satin finish with controlled light reflection.
Robust, very light and provides a Matte effect [+]

30 days satisfaction guaranteed
Free shipping in USA and Canada

White Metal Print with Floating Frame on the back

Printed to the edge & Ready to hang a floating frame and hanging wire

White Metal 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 )

Multi Panel Metal Print

HD ChromaLuxe Sublimation High-Gloss Metal Print

A.P.Polo - Bashoron HD Metal print with Floating Frame on Back

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A.P.Polo - Bashoron HD Sublimation Metal print

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

Color brilliance, superior durability and archival qualities
This artwork is produced on a dye sublimation Chromaluxe high-definition metal panel

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Sublimation Hi-Gloss White Metal Print with Back frame

Printed to the edge & Ready to hang a floating frame and hanging wire

Sublimation Hi-Gloss White Metal Print with Decorating Floating Moulding (Black)

Inside a decorating frame (Box) - Black Floating Frame

Multi Panel HD Metal Print

Wood Print

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Printed with UV cured inks providing an incredible high quality printed image which is scratch resistant with colors that will not fade overtime.
White and lighter areas are not printed on the wood, revealing the beauty of the wood’s texture and natural beauty!
Printed on 3/8" (9mm) thick and strong and durable Russian Birch wood which is ready to hang and enjoy! [+]

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Wood Print with Back Frame Mount

Printed to the edge & Ready to hang a floating frame

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Multi Panel Wood Print

Paper Print

Shipped rolled in a strong mailing tube – Choose between an optional extra white border or an exact-cut finish directly on the shopping cart page.

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Mural Print

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Framed Print

Get this artwork "A.P.Polo - Bashoron " in a framed print.
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Wall Clock

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

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Clock mechanism with a Precise quartz movement. Battery included
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Available in 12" 16" 24" sizes

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File resolution: 12195 x 10000 pixels

ABOUT A P POLO contact artist
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ABOUT THIS ARTWORK: A.P.POLO - BASHORON
A.P.Polo - "Bashoron" - Hamburg (Germany). Abstract, contemporary work that can be classified as concrete art and remotely deals with the mathematical theme of "tessellation". In mathematics, tessellation or tiling refers to the gapless and overlap-free covering of the (Euclidean) plane by uniform partial surfaces, whereby from an artistic point of view the "gapless overlapping" of the partial surfaces was rejected and the "gap" itself between the partial surfaces combined with the skilful use of light and shadow determined the approach to the work. It is possible to turn this work in any direction in order to trigger completely different perceptions of the work in the viewer. The term topos or place plays a special role in Japanese philosophy. At the beginning of the 20th century, Nishida Kitar? tried to oppose the dominant subject-object dualism of Western philosophy with the term basho (for topos, place) and to present an alternative philosophical concept as bashoron (doctrine of place, topology). This approach was taken up by other philosophers after Nishida and led to a "spatial turn" in philosophy, but also in the related humanities, such as sociology or cultural studies. Spatial turn is an intellectual movement that places emphasis on place and space in social science and the humanities. It is closely linked with quantitative studies of history, literature, cartography, and other studies of society. The movement has been influential in providing mass amounts of data for study of cultures, regions, and specific locations. Since the end of the 1980s, a paradigm shift in the cultural and social sciences has been referred to as the spatial turn (from the Latin spatium 'space'), also known as the topological turn, in which space or geographical space is once again perceived as a cultural variable. This is a paradigm shift insofar as it means that time is no longer the sole focus of cultural studies, as was the case in the modern era, but that space is now placed alongside it. Due to National Socialist ideology and the Nazi regime's wars of conquest in the Second World War to create a new "living space in the East", the study of cultural and geographical spaces was initially discredited in Germany after the end of the Second World War. It was not until the 1980s that this perspective came to the fore again, thanks above all to the geographers David Harvey, Edward Soja, Derek Gregory, Steve Pile and Doreen Massey. With the disappearance of the Cold War blocs and the opening of borders, the interest of the social and cultural sciences in geographical phenomena increased. At the same time, the internet created new cultural spaces that could no longer be captured with the categories of a physical space, but brought about spatial condensations on a media level. As can be seen particularly well in the virtual space of the internet, a new conception of space becomes necessary here that no longer understands space as a container in which groups of people and cultures are located. Instead, space now appears as the result of social relations that spring from the interests and actions of individuals or groups; natural (or real) space is supplemented by the subject's dominant, socially and culturally overformed perception or construction of space. For the topological turn to actually represent a paradigm shift, it is therefore not enough for space to become the object of study. Instead, an attempt must be made to think spatially and to approach the object with spatial categories from the very beginning of the investigation. Only then does space become a new category of analysis. Traditionally, architecture as a discipline has been a central point of contact in questions of changing understanding of spatial dynamics. Thus, the reference to place in architecture is a reflection of the "insertion of man and his artefacts into the totality of all that exists". Concrete art was an art movement with a strong emphasis on geometrical abstraction. The term was first formulated by Theo van Doesburg and was then used by him in 1930 to define the difference between his vision of art and that of other abstract artists of the time. "The work of art must be completely conceived and shaped in the mind before it is executed. It must contain nothing of the formal realities of nature, the senses and the feelings. We want to eliminate lyricism, drama, symbolism and so on. The picture must be constructed exclusively from plastic elements, i.e. from surfaces and colours. A picture element has no other meaning than itself. For we have left the time of searching and speculative experiments behind us. In the search for purity, artists were forced to destroy the natural form. Today the idea of the art form is as obsolete as the idea of the natural form. We foresee the time of pure painting. For nothing is more concrete, more real, than a line, a colour, a surface. Concrete and not abstract painting. For the spirit has reached the state of maturity. It needs clear, intellectual means to manifest itself in a concrete way. Colour is the basic substance of painting; it means only itself. Painting is a means of realising thought in a visual way: Every painting is a colour thought. Before the work is transformed into matter, it exists in a complete way in consciousness. It is also necessary that the realisation has a technical perfection equal to that of the mental design. We work with the quantities of mathematics - Euclidean or non-Euclidean - and science, that is: with the means of thought." "Painting is a means of realising thought in an optical way". After his death in 1931, the term was further defined and popularized by Max Bill, who organized the first international exhibition in 1944 and went on to help promote the style in Latin America. The term was taken up widely after World War 2 and promoted through a number of international exhibitions and art movements. Around 1903, a major turning point in art began. Painting and sculpture became increasingly distant from visible reality. Henri Matisse said that when you look at a painting, you have to completely forget what it represents. It is art that grants form, colour and pictorial composition far-reaching autonomy from the representational. This movement away from the world of the visible was called abstraction. It is about concentrating on the essential, the necessary. From 1910 onwards, an art emerged that consistently pursued the path of abstraction. Every remnant of representation, pictorial or figurative, was rejected: "Could such an art - which had obviously become completely independent - still be called an extreme form of abstraction, integral or total abstraction? Was there not something fundamentally new, a complete autonomy of pictorial design?" Wassily Kandinsky stated that art now only followed its own, art-immanent laws. It was an art of pure non-objectivity. "The new art has brought to the fore the principle that art can only have itself as its content. Thus we do not find in it the idea of anything, but only the idea of art itself, of its self-content. Art's very own idea is its non-objectivity." In 1930, Michel Seuphor had defined the role of the abstract artist in the first issue of Cercle et Carré. It was “to establish, on the foundations of a structure that is simple, severe and unadorned in every part, and within a basis of unconcealed narrow unity with this structure, an architecture which, using the technical means available to its period, expresses in a clear language that which is truly immanent and immutable.” The art historian Werner Haftmann traces the development of the pure abstraction proposed by Seuphor to the synthesis of Russian Constructivism and Dutch Neo-Plasticism in the Bauhaus, where painting abandoned the artificiality of representation for technological authenticity. “In close connection with architecture and engineering, art should endeavour to give form to life itself. The former provided new sources of inspiration as well as new materials – steel, aluminium, glass, synthetic materials.” As van Doesburg had pointed out in his manifesto, in order to be universal, art must abandon subjectivity and find impersonal inspiration purely in the elements of which it is constructed: line, plane and color. Some later artists associated with this tendency, such as Victor Vasarély, Jean Dewasne, Mario Negro and Richard Mortensen, only came to painting after first studying science. Nevertheless, all theoretical advances seek justification in past practice, and in this case the mathematical proportions expressed in abstract form are to be identified in various art forms over millennia. Thus, argued Haftmann, “the elimination of representational images and the overt use of pure geometry do not imply a radical and definitive rejection of the great art of the past, but rather a reassertion of its eternal values stripped of their historical and social disguises.” While Abstraction-Création was a grouping of all modernistic tendencies, there were those within it who carried the idea of mathematically inspired art and the term ‘concrete art’ to other countries when they moved elsewhere. A key figure among them was Joaquin Torres García, who returned to South America in 1934 and mentored artists there. Some of those went on to found the group Arte Concreto Invención in Buenos Aires in 1945. Another was the designer Max Bill, who had studied at the Bauhaus in 1927-9. After returning to Switzerland, he helped organize the Allianz group to champion the ideals of Concrete Art. In 1944 he organized the first international exhibition in Basle and at the same time founded abstract-konkret, the monthly bulletin of the Gallerie des Eaux Vives in Zurich. By 1960 Bill was organizing a large retrospective exhibition of Concrete Art in Zürich illustrating 50 years of its development. In 1949, Max Bill formulated the goal of Concrete Art in his introduction to the catalogue of the Zurich Concrete Art exhibition: "The goal of Concrete Art is to develop objects for intellectual use, in a similar way to how man creates objects for material use. In its ultimate consequence, concrete art is the pure expression of harmonious measure and law. It orders systems and gives life to these orders by artistic means".

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