Aesthetic Stance

Roberto Uno affirms:

“I don’t see the point of creating something by adding to realism. I prefer to subtract rather than add; or, if I do add, it’s by searching within my inner reality.”

This signals a preference for subtractive aesthetic:

  • Not hyper-realism (adding details to the visible),

  • But inner-realism (excavating the invisible)

  • Through symbolic, intuitive, and subtractive gestures that return to essence.

InnerRealism embraces subtractive surrealism—not adding complexity to what is seen, but peeling back layers to reach what is felt. It avoids realism's obsession with outer surfaces. Instead, it subtracts the literal to uncover the symbolic.

InnerRealism employs a triadic method of inner activation:

  • Asemic Writing – pre-verbal, gestural inscriptions drawn from the unconscious

  • Automatic Writing – stream-of-consciousness text emerging without censorship

  • Active Imagination – guided encounters with inner figures, fields, and symbols

These are explored through:

  • The Panoramic Field (Shared Book) – a generative field that archives and organizes inner material

  • TransPerformance – the performative translation of internal landscapes into external, symbolic actions

  • ProbabilisticStages – staging reality as emergent, relational, and observer-dependent

  • Three Images Workshop

  • Canto Creation

  • Quieting and Sculpting Practices

  • Symbol-to-Performance Translation Exercises

Aesthetic Function

InnerRealism is subtractive, not additive.
It reveals by removing illusion, not by adding ornament.
It is a form of visual Active Imagination.
It does not ask: “What do I want to paint?”
It asks: “What wants to emerge through me?”

It does not aim to seduce, impress, or shock.
It aims to resonate, to touch something already inside the viewer, beneath thought.

InnerRealism is not personal expression.
It is collective psychic excavation.

InnerRealism is the edge before the rational; it reveals a world that is immediate, whole, and intimately real.  It is reality prior to its logical organization. It unveils the inner field in its raw coherence, alive before explanation, untouched by the dividing impulse of interpretation. It reveals the inner field before explanation, before the violence of interpretation has fragmented it into nameable parts.

InnerRealism is the world before the world is divided. It comes from the inner reservoir of human existence:
from sensation before thought,
from memory before story,
from images that are older than the self.

This is the archetypal commons, the shared psychic ground where self and other arise from the same root. It is the collective field of myth, symbol, and origin that pulses beneath perception.

A Non-Dual (Probabilistic) Affirmation

In the everyday world, we perceive life through dualities: self vs. other, subject vs. object, body vs. mind, rational vs. emotional. InnerRealism dissolves these borders. No observer is standing apart from what is observed. The artist does not paint a “thing” but becomes the condition through which art comes forth. The work of art emerges not as a reflection of life but as life before reflection. It arises from pre-conceptual contact with the inner world, the same world from which self, myth, gesture, and presence originate.

A figure stands amid a luminous field, not before it, not apart from it, but within it. The canvas is not a flat surface. It is a threshold, a portal between inner time and becoming. Artists summon the innerreality within themselves instead of copying what they perceive outside themselves.  Symbols arise from resonance instead of reference. Light bends, colors flow, shapes pulse, to allow the inner world to appear rather than portraying the world as we think we see it. Around the artist, textures ripple like thought, forming clusters and dissolving like memory; nothing is fixed, yet everything feels inevitable.

The scene is saturated:
– With archetypal echoes,
– With non-linear illumination,
– With subtle figures that seem half-birthed from sensation.

This is InnerRealism, the field of shared inner being, made visible. It moves beyond abstraction and expressionism, directly rendering the inner world as lived, symbolic reality.

Ethics and Ontology of InnerRealism

To explore InnerRealism is to excavate, remember forward, and make visible what already lives within the collective substrate of the human condition. It is a reclamation of reality through presence, resonance, and symbolic attunement. It returns to reality in its original state, before separation, categories, and comprehension.

InnerRealism is not an escape.
It is a return.
Not another world, but the source of this one.

Emerging Elements

InnerRealism is fluid, probabilistic, and inclusive of infinite possibilities and solutions. Yet through years of exploration, patterns have emerged more consistently. While everything, and its opposite, remains statistically possible within the field of inner reality, these recurring elements appear with greater frequency, likely because they resonate more closely with archetypal figures that densely populate the probabilistic field.

1. Visual Atmosphere

– Saturated light: Non-linear, multi-source illumination that suggests presence rather than direction
– Layered textures: As if formed from sedimented memory or layered psychic fields
– Color fields: Fluid chromatics chosen through intuition, not palette logic
– Soft focus: Suggestive, not descriptive
– No single-point perspective: The image surrounds the viewer or hovers within psychic space

2. Figures and Forms

– Subtle figures: Human, mythic, hybrid—emerging rather than fixed
– Threshold bodies: Half-formed, symbolic, fluid—neither abstract nor literal
– The image paints itself: The artist is medium, not master; painting arises as a verb
– Non-narrative scenes: Implied becoming, not chronological story
– Archetypal symbols: Trees, orbs, spirals, masks, deserts, moons, thresholds, ruins, floating architecture, cosmic eyes

3. Environmental Cues

– Painterly currents: The image appears in motion, even when still
– Morphic space: Forms shift scale or dissolve into one another
– Time layers: Ancient and futuristic merge
– Psycho-topographies: The landscape is a psyche, not a geography
– White zones/fields: Thresholds of emergence, often in central visual areas

🔹 Conceptual Siblings or Influences

InnerRealism resonates with, yet differs from:

  • Surrealism – but free of Freudian determinism

  • Visionary Art – but less decorative, more epistemological

  • Magical Realism – but turned inward toward symbolic consciousness

  • Symbolist Art and Theatre – but recontextualized through quantum and relational thought

It is symbolism for a post-realist age.

Emerging Goals

  • To evolve InnerRealism as a recognizable movement or method that combines:

    • Visual art

    • Performance design

    • Philosophical inquiry

    • Creative self-exploration

  • To integrate it into zines, publications, workshops, and interactive installations and performances.

  • To use it as an aesthetic field that supports a life lived probabilistically, not as style, but as orientation.

  • A recognizable method across visual art, performance, and philosophy

  • Integration into workshops, interactive installations, and educational zines

  • A public-facing platform to cultivate probabilistic living through symbolic form

InnerRealism is not only how we make art. It is how we live.

Function and Future of InnerRealism

InnerRealism manifests across creative fields:

  • Philosophical storytelling for series like Prolegomena to a Probabilistic Life

  • Visual essaying in carousels like The Probabilistic Life

  • Performance generation through inner workshops and theatrical laboratories

  • Creative education in shared books, zines, and symbolic notebooks

  • Image–text dialogues drawn from your RobertoUno and Verni NightCafe archives

Each piece becomes a portal, not a product.

  • A platform for philosophical expression through image and gesture

  • A method for creative education and performance generation

  • A bridge between ancient symbolic language and digital future tools

  • A rehearsal space for probabilistic, emergent being

InnerRealism functions as:

– Visual language of Probabilistic Philosophy
 – Symbolic map for TransPerformance devising
– Mnemonic tool for Active Imagination and image harvesting
– Aesthetic code for Instagram visual essays
 – Pedagogical stimulus for Theatre for Social Change
 – Archive of archetypes for collective rehearsal and transformation