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The laws of logic lose their validity in the dream, everything in it has a sequential order. Indeed the dream is composed by sequentially placed images. Hence follows the value of painting which, by the drawing, manages to make the sequence itself visible. Therefore the dreamlike dimension reaches its maximum expression in art that transcends the abstract conceptualization of the word. The purpose of this essay, focused on the works produced by Tiger Tateishi during his stay in Milan, is to show how the Japanese artist was able to represent the sequential dimension of the dream through his paintings, moreover characterized by the fusion between surrealism and comics.
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Simone De Maio (2024) studied this question.
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