Our ancestors lived, in the same way as newborns, in the need to leave signs and create visual symbols, in a primordial attempt to control the chaos that permeates every aspect of the existence.
We see our children drawing even before they can speak, absorbed and solitary. But we can not know if the prehistoric graffiti, elaborate expression of creative work, is the outcome of an individual work or a collective rite.
Hyperexpressionism has always wondered if Art was born as a singular or plural phenomenon, existential or social, psychological or physical. Is the author of the graffiti in the caves of Chauvet, Lascaux or Altamira, a prehistoric Michelangelo or the production of an artistic collective? And again: was the first artistic phenomenon visual or acoustic? Perhaps the first concert of humanity can be considered as a man beating a stone against a surface in an attempt to simulate the sound of thunder. And the first artistic creation may be considered as that sign traced on the sand that the wind immediately took away.
Hyperexpressionists are convinced that the union of the Man with Nature originated Art. The mission is to recover the originality of that feeling.
When the gaze of the first Man met Nature, the first Landscape of the prehistory of art originated. It does not matter if it was a visual or an acoustic one. It is indeed more interesting to understand what caused that union. We, the hyperexpressionists, are convinced that Art was born at that precise moment and with all our strength we want to recover the originality of that feeling.