Please use this identifier to cite or link to this item: http://hdl.handle.net/11527/17715
Title: Soyut Dışavurumcu Kompozisyonlar
Authors: Keskin, Ahmet
Akkök, Vedat
53284
Sanat Tarihi
Art History
Keywords: Güzel Sanatlar
Ekspresyonizm
Kompozisyon
Composition
Resimler
Soyut ifadecilik
Fine Arts
Expressionism
Composition
Pictures
Abstract expressionism
Issue Date: 1996
Publisher: Sosyal Bilimler Enstitüsü
Institute of Social Sciences
Abstract: Soyut çalışmalarımın kapsamı maddesizliği temelinde anılan doğamn akustik renk dinamizmi çarpıcı bir biçimde ele alınmıştır. Her bir renk karşıtı insanın sosyal bir varlık dışındaki var olma duyarlılığını hissettirmektedir. Sürekli hareket halinde gözüken, aslında maddenin kendi içindeki statik enerjisinden başka birşey değildir. Var oluduğum duyarlılığımla resimlerini yapmaktayım. Eserlerimde çıkış noktası olarak bir olay, konu yada bir görünümün yorumu düşünülmemiştir. Soyutlayıcı olmayıp tamamiyle soyut anlayışı göstermektedir. Bilinç altoda birikmiş olan imajları subje eleştirisi olarak başı ve sonu belli olmayan, bitme ve sonuçlanma kaygısı duymayan insanın, ikinci bir kere yaratma hırsından uzak, tekrarlanmayan, soyuta kendisi ile başbaşa bıraktıran ve izleyicisinin yorumuna sunan bir anlayış söz konusudur. Geçmiş ve gelecek, yaşanmış ve yaşanmamışlıklar uzay özleminin kendisidir. Ulaşmak hissi, kendinden sıyrılma, bedeninden ayrılarak sonsuzun kendisine ulaşabilmek, sonunda yine bir aitlik; sonsuza ait olma yada sonsuzun kendine ait olması. Uzay konusu hep bu çelişkilerin, bu yitkinliğin bir göstergesidir ki bu çalışmalarımla izleyicinin soyut imgelerimle başbaşa kalarak, kendine olan güvenini ve iç mutluluğunu bulmasına yardıma olmasına çalışıyorum.
The content of our abstract works and the accustic dynamism in the roots of nature has been studied in a very striking style. Since the abstraction in art can never be contained in any elements in the world, can only be differentiated by ordinary people unless they are perceivable enough. An artist can prove this with his own abilities and talents. These concepts are in two or three dimensions and have been realised in abstract perception avoiding a realistic descripton even if they have done a volume effect. Here what we mean by abstract is bringing the objects together. In the essence of a being, apart from the concrete. As it is done in music, we can feel the accustic harmony by the eye. This accustic harmony and movement done with the synthesis of forms is the total excitement created from movement and rhythm. The spectators watchers all of these concepts in a very striking-style. These impressions effect the formal structure of painting and become more effective, the more the spectator tries to solve the colour harmony. The equalance of every colour makes one feel the sensitivity of a man apart from being a social existance. Colours of nature are known by everybody. A human being can only perceive these colours. The colours which reflect the abstract understanding of the artists are mysterious, what seems as a continuous movement is nothing but the static energy of the matter. What we mean by "matter" is the expression of the abstract forms, not the movement of a concrete matter. All the objects which are perceived in mind through sences, have been shown in a precie certainity and the whole action which is not included has been considered in a completely different place, away from time concept. Time of the painting starts the moment it has been perceived much further than the past or future, and action which tends to be completed after it has been watched thoroughly. The elements forming the movement are caused by structures. In this structure lines and colours are important factors because movement shows, itself in the smallest vibration. The dynamism and changes of the colour parts importance in this movement. Effects of forms in human psyhology and their relation between the whole and the parts can be explained by Geştalt psychology and can be solved by the theory "Unity in the whole" This unity is the value of every piece in itself and the absolute agreement of it with the whole. The static balance in the whole and the rhyrmic movements of the pieces supply the necessary energy. This energy causes vibrations and visual excite ments when it is perceived shave been doing my paintings with all the sensitiveness of my presence. Meanwhile I have accepted all the scientific esthetic solutions a goal in my life. In the paintings we haven't thought of a subject or a topic as an exit point. When the classisc history of art has been studied, we notice that it narrates a specific subject. In time, we begin to notice that this narration is not through the exterior of things but through their essence. All my pointing are done in an abstract style and contain the specific narration and technique of modern art. In this special narration, a realistic representation of nature hasn't been in question. What is meant here is the representation of the subject. It hasn't been abstract but has an abstract understanding. In the pictures, which are painted with an abstract understanding, the realistic structure is spoilt on purpose and it leaves its place to new comments in which the basic forms have been tried to be changed. However, in abstract understanding it is not possible to set out from a spesific subject. What is studied in abstract painting is the description of images. These images seem to be the sign of the artist's life who is excluded by nature. What is aimed here is the understanding of a man has no worries of creating a second time and whose images have been collected in the sub- conscience as the critics and images of the perceivable objects and who has no worries about coming to an end or conclusion, who is away from all the anxieties and the desire of creaviness as his self-meeting with the non repeated abstract. However, what we feel important is to make the other existance gain a new style. That presence has already got an outside appearance. The artist puts a heavy accent on what he wants to see with an exageration and tries to show this to the observer. We don't have an understanding of prothotypr and structures. Because of this there is quite a lot of disagreement between abstract and concrete understanding though it seems very little at the beginning. So it is out of question for another person to realise these pictures in another place or time. The past and future, lived and non-lived things are in fact longings for the space. The sense of reaching to a place, leaving's one's body or soul, is the "will" to reach the infinite while making social judgements on the hand. Space has always been the scale of many conflicts on this subject. While leaving the observer with these images I'm triying to lead him to earn his own self-confidence and the inner happiness. We noticed the first abstract picture which appeared in the beginnind of the 20 ft century, in 1910 by Kandinisky, however it has widespread since then. When we try to make a relation between these works and my pictures, we can say their accustic musical effects and the spreading of the forms in a composition are smilar to terms which New York school used because they used the term of "expressions" for the abstract and expressive works. This term equals for "Art Informer "Tachism" "Lyrical Abstarction" m Europe, European artists who have adopted abstract expressionism have also rejected formel composition just like the American understanding. They have preferred the expressive character of images with pictures. Beginning from the past to the present works of artists, I have valued them as (a source of) inspiration. On the other hand, my works are all composed of free forms. These forms are sometimes give the impression of unfinished triangles, trapezium or ellipse. The disallusions in their design create the question whether the forms are in the front or in the back. Kinds of tissues used in the paintings are sometimes used on the direction of the forms or on the opposite direction. I have tried to make these tissues using desk or light colours together on the canvas causes sudden ups and downs. Colour and space togetherness in tissues gives comfort to light. In order to supply the relation between form and light, the artistic effects of light, its non-symetric balance, line and colour changes are used. In my paintings, the light doesn't scatter from a central point, but it scatters onto general surface. The diffrentt tissue which has been used in my pointings are sometimes done by the help of a brush, a tool, a finger or a piece of cloth.Using the same kind of tissues make decorative effect, whereas the aim is telling the esthetic values. _- In proportions questioning the small and big has covered a duration. We have searched the phases oh the abstract art and its history and how the artists who have different styles behaved to words modern art and when and how abstract has been put into rules and style. Problem of proportion has been englightened. The solution of other values in plastic works are planned in an order too. This plan brings a series of explanations beginning from the size to which narration techniques should be used. All these works have reached their aims and the more the arrived at a solution. Although some of the wasterpieces have been used as a source of information, initation has always been avoided. All these works have been completed with the supervision of the counceller within the formal education duration.
Description: Tez (Yüksek Lisans) -- İstanbul Teknik Üniversitesi, Sosyal Bilimler Enstitüsü, 1996
Thesis (M.A.) -- İstanbul Technical University, Institute of Social Sciences, 1996
URI: http://hdl.handle.net/11527/17715
Appears in Collections:Sanat Tarihi Lisansüstü Programı - Yüksek Lisans

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