The Superstroke Art Movement’s manifesto was written in 2008 after Conrad Bo learned about the Superflat Art Movement by Takashi Murakami from Japan. The idea to take an art concept to it’s maximum really intrigued Conrad Bo, and he decided to specifically not use the word “hyper” etc. to acknowledge the influence that the Superflat Art Movement had on his work. In the beginning the Superstroke Art Movement was the Superstroke Concept in Art, but as it gained members it became the Superstroke Art Movement.
As time went by and one part of Conrad Bo’s artistic practice was to promote the Superstroke Art Movement on the Internet. During this time there was times just before exhibitions where he wanted to give people previews of the art and sculptures, but not spoil the surprise and he started taking intentional blurred photographs to put on the Internet. These photos was referred to as Superblur in Superstroke.
As time went by Conrad Bo, Diezel and May Wentworth (All members of the Superstroke Art Movement at the time) had a group exhibition in Australia. May Wentworth could not attend the exhibition in person and shipped the paintings to Australia.When Conrad Bo saw the paintings he loved it (almost all of them sold at the exhibition), but the core idea of the Superstroke Art Movement at the time was the “Violent and expressive brush stroke must be present on at least some part of the painting”, and these paintings of May Wentworth contained very little of this. Conrad Bo then rewrote the very limited manifesto of the Superblur Art Movement at the time to what it is today. The May Wentworth paintings was then exhibited as Superblur.
When Conrad Bo return back to South Africa in 2012 he was working with some of the artists of the Living Artist Emporium (LAE) and asked some of them if they want to join the Superblur Art Movement with it’s improved manifesto. Some of them like Vincent Mbeje, Ayanda Nkosi etc. joined and the Superblur Art Movement in effect started in all earnest.
Conrad Bo then found himself participating in the two art movements, the Superstroke and the Superblur, and he was quite torn about this. He still executed his paintings with violent and expressive brush strokes but also took a lot of blurred photographs with his camera. As time went on Superstroke and Superblur became intertwined and a lot of overlapping started to take place. The current state of affairs is that most of the Superstroke artists are now part of the Superblur Art Movement and they will refer to some of their paintings as Superblur influenced by Superstroke if it has violent and expressive brush work on some part of the painting.
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