Abstract

This essay examines the collapse of traditional narrative structure within realist painting and positions Structural Omission as a framework for making that collapse visible. For centuries, storytelling — in literature, visual art, and culture — has relied on the arc Aristotle defined: beginnings, middles, and ends. Roland Barthes disrupted the author’s control by exposing the “hermeneutic code,” while Joan Didion chronicled the fragility of narrative as a way to contain lived experience. My work builds on this intellectual lineage but departs from the idea that wholeness could ever be restored. Structural Omission is a framework originated by Deborah Scott that structures representational painting around omissions as compositional architecture — load-bearing absences that reveal the limits of perception, narrative, and knowing. It names a deliberate design strategy: paintings planned with intentional voids that disable the expectation of resolution, confronting the limits of both maker and viewer. In a cultural moment dominated by AI-generated completeness and seamless digital storytelling, this framework challenges realism to remain honest about what cannot be seen or known. It offers a post-certainty realism: precise, perceptually rigorous, yet built around absence as structure rather than accident.