Because the language, either spoken or written is not perfect and has limitations that could limit our training, communications and, then, the whole culture too, we need other ways of thinking and communicating to present and understand phenomena that are still unknown and not speakable by others, and visual art is one of such means.
A future-realist portrait, for example, is created by a process that may be called
In search of the past, as a paraphrase under the famous novel by Proust. It is not a traditional or realistic portrait but a manner appropriate to its title, it is a story of faces of the subject, a journey that evolves over time and is based on a structured invariable found in several photos topic taken from their youth to this time, and also, on the portraits that were made during the sessions with the subject. This invariable structure and therefore fundamental, it can project itself to a very far future. So, by an additional effect of such property, the more distant from the portrait that the observer is that the more remote in the time past the image of the subject appears!
Such a picture may appear to be a blend of cubism and surrealist art, but it is work of a new art, the art that seeks to learn, understand and realize visualizations of two things, the time past and also bring us predictions of real future.
To better understand this art, we must first talk about a very new astrophysical discovery that corrected the theory of the ancient universe considerate of late twentieth-century, saying the universe began with Grand Bang and is also limited in the future through to a point of singularity of space-time in which all the worlds, the stars and planets will fall into. For this new theory, probably one of the astrophysical discoveries most important for mankind in the last 50 years, there is no temporal limit to the universe, and it has both its past and its future unlimited. We can always have our futures, but the two main issues are how far away that future could be and how we would go there.
In this regard, we are also inspired by the theories and practices of the art movements of the early twentieth-century, including such psychoanalytic, linguistic, surrealists, cubists and futurists, but the new art, however, attend to visualize and imagine our place as humans, our life later in the future in another space after the time-space limits of our life on earth.
This art is different futuristic art because the Futurists were concerned by the very near future if not just by viewing and aestheticisation of their time, and it was inspired by new scientific discoveries or technologies already present, the very new life and dynamic of new times, but again, the times contemporary, the times already seen and already known. This new future-realistic art is concerned with the discovery and cognition of the future much further and still completely unknown, but born of good knowledge of the time already well passed. It will no longer be inspired by new scientific discoveries already known or technologies already present but the latter two will be inspired by the discoveries of the future-realist art.
As a result, the other important differences are that the new future-realistic art researches the future by the two forces, first by the hypothetical intuition based on an understanding of reality and scientific theories, and then, through scientific research with the target to reconcile the two with te competing scientific paradigms and the cognitive dissonances and to transcend them by a method of de-constructive construction of the rigorous science and of our beliefs too. We, too, would not compose very long manifests full of empty words and ideas as the Futurists of early twentieth-century did.
The future-realism, therefore, it is not only an art of the imagination or the intuitive aestheticism, but also a philosophical and epistemological method, an active meditation and intuitive search even more than multi-disciplinary scientific research or a realistic design of life in the future far away.