Category Archives: the superblur art movement

Conrad Bo on the Manifesto of Superblur and his theory of Antisingularity

This is

Manifesto of The Superblur Art Movement:

1. Superblur refers to a method of creating art using the definition of the word blur.

2. Thus the focus of the art will be to make the object or classification of the art unclear or less distinct .

3. Superblur will also focus elements that cannot be seen or heard clearly.

4. When photography is used with the elements of Superblur in mind. The camera will be manipulated or even be shaken to blur the picture and the aim is to produce images that are similar to abstract art in painting.

5. Instead of creating art for the sake of art, elements of art movements such as Superflat, Superstroke, Cubism and so forth, will be blurred in an attempt to create art that will be known as Superblur art.


According to Conrad Bo (Michiel Conrad Botha) the theory of Antisingularity can be described as the opposite of Singularity. In Antisingularity Volume equals Infinity and Gravity equals zero.

That is about all.

Here are some photographs that have almost nothing to do with Antisingularity.




Conrad Bo explains his Antisingularity Theory in context of the Superblur Art Movement

We in the Superblur Art Movement used a book by Ian Steward, The 17 equations that Changed the world in our art. We used the equations in the book randomly and then said, that the equation that we written on the piece of art is so complex we do not even know what it all means.

Me (Conrad Bo) and May Wentworth had a Superblur Art Movement meeting today 25 March 2017 where we discussed the Singularity in a Black Hole. We also talked about how we can incorporate the mathematics of the Singularity in our art.

The antisingularity is where gravity is equal to zero and volume is equal to infinity.

Here is some photographs by Conrad Bo that have nothing to do with what I just said.




The difference between the Superblur and Superstroke Art Movements

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.

#conradbo #maywentworth #vincentmbeje #ayandankosi #diezel #superstroke #superblur #mrsputnik #mrpropaganda #artmovement




Conrad Bo. Paintings so complex I do not even know what it all means

The idea of making my paintings so complex that I do not even know what it all means was only made possible with a different way of thinking about art. Normally artists want to express what is inside of them and then convey that message to the viewer. But to make a painting so complex that as an artist you do not understand the full meaning that is in front of you, an external source is needed. There was two books that I used to achieve this. The one was the 5 Equations that Changed the World and the beauty and poetry of Mathematics by Michael Guillen, and the 17 Equations the Changed the World by Ian Stewart.

I then proceeded and tried to combine the manifestos of the Superstroke and Superblur Art Movements, with the equations in the above mentioned books. The results were very interesting and it gave complete new meanings to the paintings. In conjunction with the above I also added AELIC, which was a method I was using to be able to understand the correct way to Debit and Credit entries in Accountancy like a machine.


Calculated Chaos in the Superblur Art Movement

As an artist and a member of the Superblur Art Movement there is a constant flow of ideas. One of the advantages of being in an art movement is the idea that the collective mind is better than the individual mind, if everyone has a similar purpose. The book by Butler Shaffer (Calculated Chaos) opened up a whole new way for me (Conrad Bo) to add extra dimensions to my halftone dot paintings. The halftone dot paintings need to be done in a very structured way in the beginning, which is the calculated part. The chaos comes afterward when I start to throw and splatter paint to add extra dots and texture to the paintings. But sometimes I hit a dot and the whole picture disappear. Then back to being calculated by adding the correct dots again so that the picture can be seen again.