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Submission Policy - The French Art Centre of Tralfrealism


The main ideas and goals of Tralfrealism, as an art movement are formulated in the Tralfrealist Manifesto (see below). What remains to be added?

The main tenets of Tralfrealism are beauty, kindness, lightness, and open-minded view of the word; negativity, depressing or agressive content is to be generally avoided. There are no other restrictions, including, but not limited to, technique, medium, ideology, or artistic "school". However, we do welcome a deliberate departure from academic rigidity in those cases when it becomes a formal copying tool devoid of inner content.

However unusual and even strange they may appear on the first glance, tralfrealist images turn out to be full of pure light and perfect harmony or just consonant with that poetic fairy-tale childhood domain of chimerical dreams ever-present in the soul of each man, when beheld with an open heart and without superficial academic and aesthetic preconceived notions. This is not a posture, but an attitude of tralfrealist painters.

Tralf-images can be constructed based on the form of objects selected by the painter, on the color balance or geometry; they can reveal themselves through associations or allusions during the spectator's interaction with the canvas, or they can come as the result of a painter's insight. A tralf-image can appear even in the painting's name; the painting by itself then becomes a mere illustration attached to the image. In those cases we can already speak of tralf-verbal painting. The examples include "Outcasts from Paradise" and a tralfrealist still-life called "The one-and-a-half-person tea set".

While both in their form and in their intellectual content works by tralfrealists may recall surrealist art, they differ from the latter by by their manifest lack of destruction and cynicism. There is some overlapping with minimalism, but without its curtailement of subject matter, and some possible forays into the primitivist territory but without any pretenses of ostentatious "maturity". Tralfrealism also seeks to avoid aesthetic emptiness, lack of picturesqueness, and scarcity of emotion inherent in numerous other "isms".

A distinguishing feature of Tralfrealism is its notable lack of finality, a reluctance to position itself as a consummated phenomenon, whether as a school of painting or as a general artistic movement. Moreover, tralfrealists believe that in the modern world there can be no unassailable creeds and persuations cast in stone.

Historical time is now obviously compressed as never before and the dencity of earth-shattering historical events has become exceedingly high. Ancient empires lasted for millenia, feudal empires - for centuries, but the modern ones held on for merely several decades. While in the medieval times it took many generations to witness a truly significant historical event, in our own epoch there's enough time for one generation to live through a number of revolutionary cataclysms. It is sufficient to mention Chernobyl, the dissolution of the Soviet Union, the appearance of global terrorist threat. Circumstances change faster than we can adjust to them. A blatant struggle for survival becomes the dominant mode of behavior.

With this breakneck pace of events, in a bustling society going through yet another disturbance and resembling a vessel with a muddy solution, one can hardly notice specks of gold that in the more stable periods had a chance to form a precious "residue" as an artistic school or movement. Under current conditions, any "end-of-formation", completeness claims about this or that artistic denomination would be too arrogant, to say the least.

It should be mentioned that unlike others, the modern society is not really "ideologically charged" but rather fixed on technology and information because this is what's usually most necessary for survival. As a result, life not only becomes dynamic and evolving but also loses its stability, its customary rhythm, and ultimately, its sense of contentment. The first obvious victims are moral and ethical values formed throughout the previous millennia. There is simply not enough time for them to leave an imprint. Culture becomes the main victim of time contraction.

To admonish against the loss of eternal moral values that have not only inspired many generations of artists but also ensured understanding, tolerance and well-being of the society, is the duty of the intelligentsia. This is yet another cogent reason for the supremacy of moral principles in tralfrealist art.

At the same time, Tralfrealism opposes a didactic, patronizing attitude in art and, specifically, in painting. Nevertheless, works of tralfrealists may contain admonitions, warnings, or call for self-improvement or an improvement of the society.

The chief task of tralfrealistic images is a call for perceive the world not only through the eyes, but also with sincere heart. To a certain extent, works of tralfrealists are the visual aids designed to help viewers to open their hearts and to let in light, dream, fairy tale. This should promote developing harmony all over the world.

Followers of Tralfrealism do not reject assertions that the human is not one and only man of sense in the Universe or even on the Earth. Tralfrealists suppose that projections of other life habitats may be presented in their images. The artists do not spurn that their creativity may be appreciated deeply by representatives of other life forms which attribute importance to imperishable and common to all mankind values, like Good, Beauty, Love, Creativity, Humanity.

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