(Excerpt from the book)

Back in the early 20th century, Surrealism presented images of altered reality influenced in part by the artists dreams, overactive imaginations, drug induced hallucinations and was coveted for its cultural “shock” value.
Those of us growing up in the 1980's and 1990's witnessed the influence of mass media, advertising, the advent of commercial uses for the web, and personal computing permeating every facet of our lives. Massurrealism addressed this technological, cultural and artistic shift and the debate, for Massurrealists anyway, was settled over using computers and technology to create fine art. Using technology was warmly embraced by the Massurrealist ideals.

Massurrealism, though alive and well, will succumb to the fate of all art movements. It will meld, morph and grow. Massurrealism’s major contribution to the art world is that it addressed and defeated many of the obstacles (and opinions) to computerized art and mixed contemporary media being accepted as an art form. The groundswell in the late 1990’s of the grass roots support for Massurrealism was empowered by the growth of the web, the first major movement to do so with such flagrant democracy, essentially circumventing the art elite.

The beauty of Massurrealism is, by its nature, constantly evolving. It lends itself comfortably to absorbing and defining ongoing technological advancements. I have been working on a concept that expands Massurrealism and forces consideration into yet another direction, which I call “Relative Reality”. Relative reality addresses results; changes in popular culture and the almost imperceptible shift in “acceptance” of ideas.