A common motif emphasizing this relationship between familiarity and ambiguity was in the visual correspondence between the human body and the natural landscape.
Many biomorphic forms were seen as abstracted derivations of reality, both slightly recognizable and non-identifiable simultaneously.By allowing the art medium and material to inform an intuitive flow of expression, the artist brought forth a connection between the viewer and his or her own inner spirit - an artistic bridge between the human subconscious and reality. Even with sculpture, the practice of Direct Carving and using the material's grain, texture, and density to energetically shape the artwork, carried the mark of automatism. Biomorphism lent itself perfectly to the Surrealist impetus to portray the internal unconscious through automatic, stream-of-consciousness art.It is also applied to organic-like forms used in various subsequent art movements. Uncapitalized, the term "biomorphic" was used to describe earlier treatments in art history, such as Rococo's common decorative motif resembling shells and acanthus leafs or Art Nouveau's serpentine arabesques, as well as in Islamic art's motifs evoking plant forms. This fluid way of creating art from emotion and its resulting curvilinear aesthetic infiltrated all parts of society from painting and sculpture to decorative arts and interior design. With roots deeply connected to Dada and Surrealism, an intuitive mode of expression coined "Biomorphism" emerged, in which an artwork's elements became modeled on naturally occurring patterns, biological forms, and shapes. Many took part in the burgeoning interest in psychology and the physical sciences, finding inspiration in both the invisible signs and symbols that bubbled up from the subconscious and the visible internal cellular structures and life forms that make up the body. Amidst a societal hangover from World War I, many European artists were going inward to mine what lies beneath.
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