I CONSIDER PAINTING TO BE A SUBGENRE OF SCULPTURE, RATHER THAN A MEDIUM OF ITS OWN. THIS IS BECAUSE OF THE RISE OF DIGITAL ART. CONCEPT AND IDEA HAVE BEEN THE PRIMARY SOURCE OF CONCEPTION FOR ARTISTS. REPRESENTATION OF SUCH IS NOW AT A POINT WHERE IT CAN BE MATERIALIZED OR EXIST WITHOUT EVER BEING PRESENT IN THE VIRTUAL REALITY WE LIVE IN. THE PAINTING HAS BEEN EXHIBITED AND PLACED IN THE MEDIAL FIELD OF THE HEXAGONAL SPACE OF THE CUBE, ONLY BELONGING TO THE WALL AT EYE LEVEL. SCULPTURE, PREDOMINANTLY, WHETHER SUPPORTED BY THE PEDESTAL OR NOT, SHARES GROUND TERRITORY WITH ITS USERS, US, THE SPECTATORS. DIGITAL PHOTOGRAPHY SHOULD ONLY EXIST IN THE DIGITAL REALM AS IF ONE CHOOSES TO PRINT THEY MUST NO LONGER CONSIDER THEMSELVES JUST PHOTOGRAPHERS BUT ALSO TAKE IN CONSIDERATION THAT THEIR WORK IS NOW A SCULPTURE, AND THEREFORE THEY BECOME SCULPTORS. UNDER THIS LOGIC, PAINTING AND ANY OTHER PHYSICAL MEDIUM MUST NO LONGER BE REPRESENTED IN THE ALGORITHMIC FIELD BUT RATHER TO BE ARCHITECTURALLY EXPERIENCED.
 
THE IDEA IS A BIOLOGICAL ALGORITHMIC PROCESS THAT THROUGH SEMIOTICS IS UNDERSTOOD BY A HUMAN COLLECTIVE. ALTHOUGH THE PAINTING’S MATERIAL LIMITATIONS LIMIT THE FIGURATIVE LANGUAGE, IT SHOULD NOT ABIDE OR BE DEFINED BY THIS RESTRICTIONS. A DIGITAL REPRESENTATION OF LA GIOCONDA INVOLUNTARILY DISORIENTS THE USER’S EXPERIENCE AND CONTACT WITH THE PAINTING. THEREFORE, THROUGH THE DISPLACEMENT AND CONTORTION OF THE IMAGE, OR FIGURATIVE CONCEPT, IT CLAIMS ITS MEASUREMENTS AND PERIMETERS. THIS EMPHASIZES THE NATURE OF SUCH FIGURATIVE THOUGHT LEAVING A BRIDGE BETWEEN WHAT IS MATERIALLY PRESENT AND WHAT BECOMES ABSTRACT VISUAL TEXT.