Deconstruction was coined by the French philosopher Jacques Derrida in the 1970s, insisting that a work has multiple meanings, often contradictory.

By the late 1980s, architecture took centre stage in the Deconstructivism movement, introducing a new visual style characterised by intricate geometries in response to the rational, straightforward, and utilitarian aspects of modern design. Postmodernism is often regarded as a subset of Deconstructivism.

Deconstructivism, an artistic movement that emerged in the 1980s, aims to challenge conventional worldviews. One of its earliest instances is the Parc de la Villette in Paris.

Postmodernism, as an embodiment of deconstruction, seeks to break away from established identities and structures, favouring a more open, less defined self. By deliberately dismantling structures, we create an environment that is simultaneously disrupted and fertile for new connections and emergent ideas.

In the contemporary art landscape, the search for unique and innovative voices has become increasingly challenging. This shift has been influenced by the broadening definition of art, partly thanks to surrealists like Marcel Duchamp (1887-1968) and the multidisciplinary nature of their work. Art now not only serves as a means to revolutionise our world but also as a language for exchanging ideas and messages about it.

To explore fresh and inventive possibilities in our artistic endeavours, we can adopt the practice of deconstructing and reconstructing our creative processes. The theory of postmodern deconstruction, developed by philosopher Jacques Derrida, delves into the transient and evanescent nature of identity, whether personal or collective, influenced by the metanarrative language of our culture.

Identity fragmentation is exacerbated by the proliferation of a global contemporary culture where ‘everything’ coexists. Consequently, identity becomes a collage, woven from a diverse array of cultural references.

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Parra's studio, with Parra at the centre, his back to the camera as he works on the large painting takes centre stage, showing a faceless blue woman in a striped dress, painted in red, purple, blue and teal. The studio is full of brightly coloured paints, with a large window on the right and a patterned rug across the floor under the painting.