DYDMOFPHOPHOBIA – beautiful painting

DYSMORPHOPHOBIA – beautiful painting

What is beauty? When can we objectively say – a beautiful poainting? Most often, the concept of beauty is recognized as the basic aesthetic category of positive value. The science of beauty – aesthetics – deals with the analysis and creation of canons. The culture in which we live creates canons of beauty and encourages us to strive for an ideal, for example in relation to the human body. However, the human body is not perfect, such is the specificity of organic matter – it changes and is never perfect. We have limited influence on it. Social pressure on appearance drives many people into complexes. Appearance obsession is a mental disorder called dysmorphophobia. Can an artist face similar problems?

What is a beautiful painting? In relation to the used elements and the whole of the artwork, would it be harmony of forms, colors and a balanced composition? Is there an indisputable canon of beauty? Or as in case of human bodies – are the products of human hands also imperfect and always imperfect? Are we not falling into an aesthetic obsession judging a painting? Is “beautiful” what we like? Why do we like something? Is there a picture of flawless aesthetics? In the case of the series created by Robert Lardus, the pictures are a phraseological compound transferred to a substrate with a rough, interesting paint surface. Colocation moved into the world of abstraction. „Perfect Beauty”. But the title that the artist gave to the series: „Dysmorphophobia” is a temptation to undermine this ideal.

What is beauty?

In his ironic approach, the artist induces the viewer, even forces him to deep and non-standard reflections. What is the canon? What is a beautiful painting? Is beauty objective or is it just our subjective feelings? When do we consciously feel something as beauty, and when are we unknowingly accepting the canon imposed by the environment? This is a perverse series, a series with a message. The author paints alla prima, there is no way to fix flaws and mistakes. No painting is perfect. Even the one widely recognized as a beautiful painting.

Painting dysmorphism can be found in each of the paintings. If we want it! However, not the real flaws, but the  imaginary ones, the  phobic blemishes are the worst. They torment, destroy and cause misery. „Dysmorphophobia” shows the author’s uncertainty. First and foremost, each image requires the author’s approval, just as any image of a person requires the acceptance of its host. Does this approach explain what a beautiful painting is?