The Greek etymology of the word “apocalypse” relates to the concepts of un-covering, unveiling, revelation — which makes sense of our common understanding of the term: the necessity of destroying the finite world for an infinite truth to appear.

The same dialectical process has always existed in art history: to create, artists add, then “abstract” away, for only the essential features to remain — those that best serve the image as a whole. However, this elevation through abstraction reached unprecedented heights in modern art. The latter brought forth the greatest deconstruction of form ever seen and, with it, radical freedom. Once and for all, the essence of art was revealed to lie well beyond naturalistic endeavours. This led some to believe the history of “figurative” aesthetics was over. Many artists fled representation itself, completely evacuating the complexity of form — and thus content — from their work. Some thought complete abstraction could better express a form of absolute. Others negated the picture-plane itself, subconsciously expressing their nihilistic beliefs. A few doubled down on hyper-realism. In many instances, it was based upon a misconception: thinking that figuration and abstraction are not the same thing. In truth, content can only be expressed through form and every act of representation is abstract by nature. 

To move forward, we need to finally learn from the ideas of Kant and Hegel: all aesthetic revelation plays on the leap between the internal concept of what is represented and the mystery of its outward appearance. Accordance between these two poles — between finite elements and the infinite relation that holds them together — determines beauty. When making a powerful image, form and content no longer stand apart. Each only comes into being by becoming the other; both exist solely by dissolving into a unity that can no longer be named, only seen and felt. Emotion is discovered through shape, and shape through emotion. Art-making is an ever-present apocalypse: the Concept positively unveils itself through the negative refinement of its external shape.

The avant-gardes did not kill painting: they merely made it self-aware. Not much else needs to be said: images speak for themselves.