Hyperrealism is a highly selective category with a limited number of artists who may also be classified in different contexts at the same time. For many of them Hyperrealism is initiatory - it is an expression of their interest in the objective world and the ability to capture it (Iban Navarro, Cesar Garcia, Angus McEwan, Yang Yu Tang, Stanislaw Zoladz, Armin Mersmann, Alexander Ignatiev, Raphaella Spence, Paul Dmoch, Robin Eley, Javier Arizabalo ad.). Often they may have an almost romanticizing and atmospheric approach to a topic (Renato Muccillo, Jay Moore, Gerhard Richter), or their aim may be to evoke a full haptic experience with the world (Tomáš Kubík, Clio Newton, Hisaya Taira, Greg Gandy).
Problematic social, cultural and political moments, the themes of humanity, human loneliness, existence and the quality of post-modern existence (Paul Cadden, Vincent Giarrano, Rod Penner, Denis Petterson) are all great topics. In this regard, Hyperrealism follows other variants of realism - it naturally responds to external circumstances. For some, such as the artists of the older generation in Central and Eastern Europe, the goal (Zdeněk Beran, Theodor Pištěk) is a return to reality as an entity with aesthetic and artistic potential. Thanks to its proximity to the visual experience of human eyes and its evident self-reflexiveness, it is an exceptional starting point in exploring the limits of painting, the image and their purpose and possibilities (Gerhard Richter, Chuck Close, Zdeněk Beran). However, that is why in many cases it works just as one of the possible art strategies (contemporary Romanian painting). The fundamental question is the veracity of what we see and the meaning of that which is seen.