The Amalgamist Manifesto
© 2026, Michael Torres
"I am..."
© 2010, Michael Torres
About the Cover Image
I once attempted to create a work of Art that told the story of who I am,
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Beginning,...with the outline of a cross;
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Pausing... as that cross demanded Honesty;
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Meditating... on what that commitment meant to me;
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and finally Realizing that that Story, of who I am, is not for me to tell
(except to convince myself).
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After all,
I can only truthfully be defined by the Impressions I leave behind,
through animation and engagement;
and even on my worst days,
which is perhaps the true litmus test of one's character;
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the impulsive nature observed in unchecked reaction
and lodged into imperfect and unforgiving memory;
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every encounter providing Evidence,​
that I not only exist,
but also encompass many things, both fixed and fleeting;
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being all at once... an Amalgam.
Introduction: Back to the Beginning
Both the Modern and Contemporary (Post Modern) Ages of Art have ushered more than a century's-long deconstruction of classical representation that has forever transformed the landscape of the Art Market, despite the exceptional resilience of artists whose technical mastery still honor the early traditions of painting. A far greater percentage of the creative populace has either developed or adopted more visceral methods of expression that inherently challenge how we view and appreciate art, demanding that we look beyond the surface in order to arrive at some meaningful con-clusion. Yet, while the accomplishments of Modern and Contemporary Art have successfully broadened the scope of creative potential, a funda- mental flaw still undermines the purest expression of our achievements.
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As earnestly as the maturing mind yearns to Eradicate Conventions that appear outdated and inhibitive (in the moment), the very impulse which so critically resolves to overthrow the reign of accepted standards often only seeks to establish its own Authority instead, beset by its own Restrictions and Limitations, while ultimately swapping one set of boundaries for another.
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As stewards of tomorrow's Art History then, artists have the responsibility to not only remain unapologetic amid the storm of public opinion and critical review, but also, to resist the temptations of vanity and complacency, both of which possess the potency to infect even the best intentions with the stagnant miasma of gimmicks and rhetoric.
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So, if there was ever any substance to the ideologies that once guided art toward quintessence, having born and nurtured the radical voice of Abstract Expressionism, we must now stand atop that foundation and aspire for something greater than our most primitive selves...
which was only ever the beginning.​
" The Entrance Door"
© 2024, Michael Torres
A Banana
In 2019, an Italian Artist sold a banana duct-taped to a booth at the Art Basel Miami Beach Fair for $120,000, not only serving as a commentary about the current state of the Art Market, but also stirring global debate about the nature and value of art, so far removed from its neatly categorized origins.
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Now, whether you consider the banana to be a work of art, or not, is irrelevant (at this point); because that banana has become evidence of the current market's Identity Crisis; in some ways having become a parody of itself, while also revealing that its upper echelon is no longer the bastion of Quality and Value it once was (as evidenced by Declining Art Sales at major auction houses and high-end galleries, from 2022 - 2025, as well as the current shift to foreign markets and time-tested Old Masters).​
Looking Elsewhere
Along the fringes of this slumping contemporary market, there is a growing population of Impassioned and Under-recognized Artists who are adeptly intermixing genres, Expanding the Language of Art, and in need of forward thinking Galleries, Art Dealers, and Patrons who not only understand that evolution is inevitable, but also, that the purest creative voices are often found in exceptions, rather than in norms.
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At the same time, those highly sought after Galleries and Art Dealers are faced with the unenviable task of determining by what criteria to fill their stables (of artists they represent), specifically, in an industry where "Good" will always be subjective, and "Accomplished" is only occasionally remarkable enough to be truly impactful.
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The Harsh Reality is that Social Proof is no indicator of Quality (no more than the latest fleeting trend); neither is a Degree from the best Art College; nor the Approval of the Institution (even if some institutions can undoubtedly propel an artist's status based solely on association.
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The point is... Popular, Valuable and Good are only rarely the same thing.
"Out of Bounds"
© 2013, Michael Torres
Summoning the Beholder's Share*
At the end of the day, what really matters is The Audience, large or small, and perhaps more so now than ever.
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In fact, Evolution demands it; that the art-loving community (as a whole) accepts its role in shaping the Art Experience, with YOU (the beholder) holding just as much sway as the artist and institution, helping to create a dialogue that extends beyond the individual. After all, when you (the beholder) respond to a work of art (whether you are enthralled or disenchanted) you also expand that work's psychological imprint and directly contribute to that image's impact and meaning (through interpretation).
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In this way, the image, which was once observed as the strict creation of the artist, is transformed into something more than one person's vision. It becomes part of a larger discourse, within our Collective Consciousness, yearning to evolve beyond meaningless spectacle; beyond gimmicks, rhetoric, sales pitches, publicity stunts, and content strategies.
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For this reason alone, Amalgamism is not just the next natural progression of a complex and ever-expanding industry (already unfolding everywhere art can be found), but also, a necessary next step in Art History. Amalgamism is the bridge between the uncertainty of this moment, and tomorrow's resolve. It is a Union of past and present that blends the classical with the contemporary, while keeping one eye on the future (in good stewardship). And, it is the very constitutional makeup of what it means to mature (as an individual) and evolve (as an artist); becoming more than the sum of one's limitations.
What is Amalgamism?
By definition, an Amalgam (ə'malgəm) is a Mixture or Blend (of any two or more things).
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Amalgamism (ə'malgə mizəm) then, is The Practice of Mixing or Blending (any two or more things).
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In Art, this would mean to incorporate different techniques, styles, genres, mediums and/or influences into a body of work, or individual work of art.
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However, the concept of Amalgamism is not strictly confined to any one industry or practice.
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Therefore, by extension, an Amalgamist (ə'malgəm ist) is Any Person whose Professional Inquiries involve or require the mixed application of concepts, ideas, procedures and/or methods to arrive at a conclusion or result.
"Preoccupation"
© 2024, Michael Torres
A Matter of Principle
I think most would agree that Premeditated Rebellion, at least in the context of creating Art, is often just as insincere as "Conscious" Conformity (whether resigned conformity or calculated).
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In fact, to acknowledge any convention or standard as a Catalyst for movement (even in the opposite direction ) only implies that we are merely Reacting to the same impetus as the conformist, in Causality. However, to act on the merit of the act itself, with little or no regard for appearances, is something completely different. That action liberates us from the expectations, influences and conditioning of our environment, furnishing us with the ability to transcend even our own imaginations.
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Amalgamism then, in its purest form, is not a rebellion against any of the Art Market's conventions, but a rebellion against the Ego, and is intended to facilitate the full examination of our own vastness (within The Self, and in the unscripted Event of Life) without judgement. It is the myriad voice within a Shared Humanity, which yearns to be recognized but often exists between the lines; between knowing and understanding; between actions and intentions; and, between perception and interpretation.
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In practice, this means that the artist may occasionally move with the grain, and at other times against it; but only in a manner that directly corresponds to that moment's work, and only in accordance to what the image demands of the artist's raw intuition. This also means that expressive-ness in execution is equally subordinate to the creative impulse and is why I adopted the term Amalgamist; to simplify saying that I am a Multi-
disciplinary and Inter-disciplinary artist working in Mixed Media.
A Psychoanalytic Process
Of course, I can't speak for other artists. So, I will only refer to my own motivations here, to provide context regarding process.
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My work, which can certainly be described as a combination of Surrealism and Abstract Expressionism, often explores the silent signals that are transmitted internally through discourse, taking place as an Abstract exchange between Consciousness (the thoughts ideas, and feelings I am aware of) and The Unconscious (the subliminal self, which informs and shapes reflexive responses to stimuli - often referred to as one's "natural" inclinations and aversions).
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Because of this, and, because Unconscious Impressions often demand more than logic and a disciplined brush to excavate, I often employ the Psychoanalytic methods of Automatism (random mark making) and Association (reflexive mental connections) to compose an image, while also allowing the moment's emotional and/or intellectual needs to determine medium and style.
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Obviously, this method is not predictable. But, that is also the point; because, by avoiding premedtitaion, I also enable the very imulse of image making to divulge its own secrets, its own reasons for compelling the mind and body into action (whether to express, inquire, interpret - or purely as an outlet for release).
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As a result, the voiceless Psychological Artifacts that once occupied the deepest recesses of the mind are now exposed, illuminating what was hidden and providing the opportunity for more rational evaluation (and interpretation) later, serving both creative and interpersonal Development.
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"An Elaborate Internal Dialogue"
© 2023, Michael Torres
Practical Resolutions: For the Artist and Beholder
If the Practice of Art is considered a Psychological Activity, it would be presumptuous to believe that the Artist's Grasp on intentions should over-shadow the research and discoveries of Analytical Psychologists, whose formal Inquiries still contend with unknowns in regards to the underlying mechanisms of the mind.
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Consciousness, after all, is a vast construct of both Voluntary and Involuntary impulses that influence and help shape an individual (with, AND, without our permission).
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So...
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1. It's okay for an Artist to not always know what each individual work of art is about; for who among us is without blind spots in Perception?
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It's also okay for you, the Beholder, to probe for answers. It's a good sign, actually... that the work resonates with you in a way that arouses
curiosity (even if the reason is not immediately obvious).
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2. It's okay for an Artist to create out of Inquiry, rather than through presumed knowledge of a subject; as we all seek liberation from Plato's Cave** (in one way or another).
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It's also okay for you, the Beholder, to feel confused or annoyed with an underdeveloped image or body of work; and, when given the opportunity, this should be constructively expressed, rather than opting for false praise (which is a loss for all of us).
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3. It's okay for an Artist to experiment for the sake of Learning and Development, even when the results appear incongruous with what the artist created before, placing greater demand on the Audience.
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It's also okay for you, the Beholder, to expect something more clearly defined and consistent; regardless of the demand it places on the Artist (challenging one another in a meaningful way).
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4. It's okay for an Artist to value Substance over surface (or spectacle), in pursuit of something more thought-provoking than wall decor and more meaningful than a quick sale or compliment.
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It's also okay for you, the Beholder, to like or dislike a work of art... regardless of substance. Although, I would also challenge you to explore your "Why" (which can be surprisingly illuminating).
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5. It's okay for an Artist not to work linearly in strict themes or series, regardless of industry standards. (Although, artists should probably temper expectations as well, if moving against the grain here.)
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It's also okay for you, the Beholder, to have your own preferences; whether you like knowing what to expect from one piece to the next or appreciate surprises.
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6. It's okay for an Artist to avoid the seductive trappings of Commercialism and the Sterile Aesthetic of the "Branded" image, which too often stifles creativity and results in predictable repetitions, reiterations, recurrences, and other redundancies... all for the sake of "appearing" to have a clear vision (stuck in pause).
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It's also okay for you, the Beholder, to appreciate pastiche and the effortless indulgence of what is currently on trend. (Although, you should also temper expectations - if collecting as an investment.)
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7. Lastly, it's okay for an Artist to ask YOU, the Beholder, for your interpretation of a work of art. There are many artists who are truly interested in Connection and Shared Experiences, after all, and this simple act of engagement not only enables the artist to view their own work from a broader perspective, but also encourages them to evolve beyond bananas.​​​
Speaking of Bananas
In 2024, one of the three "conceptual" bananas previously purchased in 2019 was sold at auction for a staggering $6.2 million; making headlines once again and confirming that High-End Art Acquisitions are often about "The Exchange", like buying and selling shares in the Stock Market; prioritizing "Potential" over talent or quality.
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Money is as money does, after all (plain and simple) and there really is no rhyme or reason for any of it... except that of Opportunity.
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Thank you, Maurizio.​​
"The Defining Moment"
© 2019, Michael Torres
How You (the Beholder) Can Help Alter the Art Market's Tragectory
Put the onus on the Establishment, by asking your local galleries and museums if they have any Amalgamist Art on display. Amalgamism may be difficult to spot and/or identify in the beginning. But, the more you inquire.... the more incentive there is for institutions to explore, discover and spotlight the dynamic voices from within this movement (already underway).
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Plus, the next time you find yourself torn between buying or not buying a work of Art you've fallen in-love with... Trust Your Own Reasons for making the purchase, first and foremost; because your experience with the work is purely your own (and Does Not require valuation).
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Then... and only then... if you want to preserve or improve the Value of your new acquisition... become an Advocate for that artist, and don't let your purchase remain a secret. You only know about the banana because you were meant to.
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After all... Money is as Money does; and... money remains active.​
References
* The Beholder's Share: a concept that was developed by Art Historian Ernst Gombrich, explaining how the viewer (the Beholder) actively part-icipates in the creation of meaning in art, and that a work of art remains incomplete without the viewer's emotional and/or intellectual contribution.
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** Plato's Cave: refers to the Allegory of the Cave, from Book VII of the Republic of Plato, where the metaphor of Captives in a Cave is used to illustrate the Contrast between Perception and Knowledge. Those captives, who mistake shadows on the wall for reality, represent most (if not all) of us, in one way or another; not necessarily as prisoners (without means of escape), but as disparate communities living within the Boundaries of Shared Conditioning and/or Adopted Beliefs.​
Supplement to The Amalgamist Manifesto
Behind the Curtain
Poetic:
I am You are Me,
in reflection;
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projections we cannot see,
in introspection;
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aspects of the self
unrecognized
until personified;
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in a friend...
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or external tormentor
in whom to blame;
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despite the two
the same;
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incomprehensible;
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disparities in need
of their opposites;
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illuminated
and in shadow;
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one,
not opposites;
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and only understood
together;
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giving to one another
shape and meaning
"Intertwined"
© 2015, Michael Torres
Philosophical:
The sum of X and Y
are not always calculable;
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except within controlled
environments, such as the lab or classroom, where the values of X and Y are clearly defined
and concrete.
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Otherwise,
X and Y are only variables, whose sum is often
only useful to speculation;
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specifically,
when the variables of X and Y
represent intangibles,
such as the unpredictability
of human nature,
and its inestimable
circumstances;
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regardless of analytical models
and predictions;
and...
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regardless of what experts
want you to believe.
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Probability is not Certainty;
any more than one person's
perspective represents
the Universal Truth.