Magical realism originated in the early twentieth century as a way of describing art that remained grounded in reality while allowing for subtle shifts in perception. The term was first used in a visual arts context, before it became widely associated with literature.

Rather than presenting fantasy worlds, magical realism stays close to the visible world. What changes is the way that world is experienced. Ordinary scenes carry an undercurrent of something unfamiliar, often without explanation.

This approach has continued to evolve. Today, it appears across disciplines, but within painting it takes on a particularly material and visual form.

In painting, magical realism is not defined by subject matter alone. A figure, a house, or a landscape may appear entirely recognisable. What transforms the image is the tension within it.

Painters working in this field often build images where atmosphere, colour and composition suggest more than they describe. Meaning is not imposed through narrative alone, but develops within the image itself.

In contemporary practice, this often connects to process. Layering, gesture and material contribute to how the image shifts. What is visible remains anchored, yet something moves beneath the surface.

Today, magical realism in painting exists less as a defined movement and more as a field of approaches.

Contemporary painters explore how reality can be expanded without leaving it behind. The focus shifts from storytelling alone to the way an image is constructed. Material, movement and perception become central.

Within this broader context, some artists develop work in which meaning unfolds through the act of painting itself. Rather than illustrating symbolic ideas, images are allowed to evolve, creating space for interpretation.

Magical realism, in this sense, is not a fixed category, but a way of working that remains open.