Resimde, Işık-renk-espas

Tuncer, Asuman
Süreli Yayın başlığı
Süreli Yayın ISSN
Cilt Başlığı
Sosyal Bilimler Enstitüsü
Institute of Social Sciences
Çizgi, ışık, renk, ton, leke, doku, gibi görsel elemanlar birbirlerini etkili kılacak oran ve yön içinde hareket kazanarak tual boşluğu ile ilişkileri sonucu görsellesin Elemanların birbirleriyle ve de tual boşluğuyla ilişkileri arahk-espas denilen durum ile belirlenir. Yapıtlarında genel olarak geometrik biçimler ve serbest fonlar egemendir. Bu geometrik ve serbest biçimleri tual düzlemindeki düzenlemelerini yaparken sonsuzluk duygusu yaratan bölümleri, ya zemin olarak kullandım yada diğer biçimlerin arasından gösterdim. Biçimlerin yüzel üzerindeki dağılımı ile sağladıkları hareket ritmi oluşturmuştur. Yatay bir biçimi, dikey yada diagonal bir biçim karşılamış hareketlerin yoğun olduğu bölge odak noktasını oluşturmuştur. Hareketli ve hareketsiz alanların dağılımıda dengeyi ve "ritmi sağlamıştır. Böylece göz, hareketin sıfir olduğu bölgelerden dinlenerek, hareketli bölgelere buradan tekrar durgun bölgelere kaymaktadır. Bazı biçimler tual düzleminin içinde başlar ve biter. Bazıları ise dışarı taşar, tualın dışına doğru hareket eder. Yada resim düzlemine dışardan girer. Bu hareketler, odak noktasından dışarıya yada dışarıdan odak noktasına yöneliktir. Sıcak renkler daima çok, nötr alanlar içinde yeralırlar. Nötr alanlar, yapıtların genelindeki renkliliği dengelemektedir. Denge daha çok, renklerin düşük-yüksek değerleriyle sağlanmıştır. Sıcak renkler çoğunlukla odak noktasında yada çevresinde bulunurlar. Kırmızının sıcaklık ektisi, morlarla veya bordoyla yüzeye dağıtılmış, mor ve bordodan soğuk renklere ve nötr alanlara geçilmiştir. Ritm ayrıca, renklerin değerleriylede oluşturulmuştur. Bu, düşük ve yüksek değerlerin, ya tam yanyana kullamlmasıyla yada yavaş geçişleriyle sağlanmıştır. Sert ve yumuşak dokular ile herhangi bir nesnenin algılanmasına yolaçmayan dokular arasında bir bağ kurulmaya çalışılmıştır. Biçimlerde yer yer boşluk duygusu uyandıran dokularla düz alanlar oluşturulmuş, karmaşık ve hareket duygusu uyandıran dokum alanlarla dokusal denge sağlanmıştır. Yapıtlarda şekil-zemin ilişkisine dayanarak, ışık, biçim, renk, doku, ritim, espas ve değerlerin, bir plastik düzen oluşturacak şekilde biraraya getirilmesine çalışılmıştır.
Visual elements like live, light, color, tone, splash, texture. Become visual as a result of their in teraction with canvas space, gaining action in the direction in the direction and rate so as to render one another effective. Their relations with one another and, also with the canvas space are determined by distance. In general geomekric and free forms dominate in my works. White arranging there geometric and free forms on the canvas plane, I used the sections wnich create a sense of infiniteress as other forms. Action that the forms created with their distribution over the surface forms the rhythm. A. Vertical or diagonal form meets with a horizontal form, and the section where action is intense forms the focus point the distribution of active and inent fields creates balance and rhythm thus, eye, resting in the action-free regions moves on to active pants, and back to inent pants. Same forms start and end witein the canvass plane. Others overflows, moves out f the canvass, on enters the painting plane from outside. Thise actions are doneeted from the focus points outwords,or towards. Balance is achieved, in general, with low-high values of colours. Warm colours are mainly-found ir on about the focal point. Warmness effect of the red is spread over the suiface with purdes and bordo; I pass from purple and bordo to cold colors and natural pants. In addiation, rhythm is form eil with the values of colors; Which is achieved with the use of how and high values either exactly next to one another or through a gradual passing. A tie is trical to be estalisted between hard and soft textures, and the textures which don't lead to perception of any object. Plain planes are formed with textures giving a sense of emptines in the forms, textural balance is achieved with textured section which are complex, and which givi sense of action. In my works, I attempt to put together, depending on form-groud relation, form, color, texture, rhythm, distance and values so as to form a plastic arrangement. VI "Basic existence", "profundity" is a conscious object of the century. As the contemporary science, philosophy and psychology (especially the psychology of profundity) are inclined to this basic existence and profundity, the contemporary art also wants to achieve the same basic existence and profoundity. Especially in the abstract art, this is the main goal of the art. The art can reach this profundity by forming the basic existence. The classical or the traditional art was deriving from the object. This object is the natural existence or the individual objects. The nature consists of the beings, that form itself, and the objects that have specific shapes. When the classical or the traditional art approaches the nature and the natural beings, it aims to take them as they are, to bring the natural shapes to the light or to comment on them. The stronger the approach to the natural shape is, the stronger the forming, that art creates, is. This is not only a principal of the naturalist theory, but also a principle that exists in all kinds of art. This is also true for empiricism because the starting point is also the nature for empricism. However, the subjective features of the nature, not the objective ones, are taken into account. In other words, we deal with the nature as we see it, not as it exists. Whether or not the traditional art does this forming objectively or subjectively, the main thing is to form an objective nature. In the abstract art, there is not such a nature and such forming. The thing mat the abstract art searchs for is to think of, to look for and to form a constant, basic, absolute existence beyond the sensorial nature. There is not such a basic being in the empirical, sensorial nature. This is also true for mis forming process. The art that is supposed to reach this basic being would give it a material form. In other words, this basic being, constant being would only get a material form in this forming process. The constant (spiritual) things in the composition are the line and uncoloured (black, white, grey) surfaces. Inconstant (natural) things are coloured surfaces and the rhythm. This is not only true for the art of painting but also for all kinds of art. According to Piet Mondrian, it is even the case for the music. He says quoted 'in order to reach an universal form, the new music has to have the courage to create a combination between tone and toneless (specific noise).' In that sense, in the abstract art, forming shouldn't only be considered as VII esthetic, but also as ontological. To put it another way, to be esthetic doesn't only state an esthetical value, it is not a category, it is to make a secret being seeable. In that sense, it is an ontological category because this constant, basic being can only get a meaning in esthetical forming process. For that reason, in the abstract art, forming has got an ontological meaning. This ontological meaning depends on forming. There is a first step to be taken in the abstract forming: to change the traditional understanding of forming. The traditional understanding of forming depended on the shapes of the objects, so far. Surrealism and the abstract art have to give up the shapes of the outside world, one way or another. The object is not important any more, it doesn't even exists for the art. The important thing is that to comprehend the forming principal that can't be understood by senses. This is the most basic truth of the being. This basic truth can be taken as a basic principal that determines art. The event can no longer be said to take place in contradistinction to experssion. It therefore does not have the temporality of repersentation. The temporality of the event has become complex. Within any painting the co-presence of anumber of different narrative possibilities means that the relationship between narrative and time found in writing cannot pertain. The narrative of drippings is quite physical. It involves the tracing of lines over lines. The lines themselves are swirls, drops, blocks running into blocks. Starting at any point the path begun runs across as well as down. Sections and intersections are crated and dened. Threads end to start again. What whas in part obscured becomes that whic itself obscures. Thes movements depend upon the interplay of surface of depth; of one with and within the other. What is no longer at play is depth as providing art with its truth. Thet depth was from the start a ruse posed for art by philosophy dominated by mimesis. The truth of art is not the surface, even a play of surfaces, is the banal and nihinilstic gesture of the counter move. The truth of art will involve the capacity to mark the presence of depth and surface. This is the recognition of a diference that precludes a synthetic totality. As a begining the 'action paintings' can be located within this preclusion. As works of art they are demanding. However, the inscription of the 're-' means that the surface brings with it a puroproted depth and as a consequence involves a division that must be given temporal description. This has to be the case because, since the division in question includes that which is neither co-extensive nor simultaneous, it follows that the alterity involved is temporal as well as ontological. It is not VIII just a suggested spatial dis-placment. The re-presentation cannot be designated as prior. On the contrary it is the object that is reproduced or re-desgined that is prior. The framed representation therefore is given as an afther-effect parasitic, in relation to both semantics and value, on the priority of the prior. At work here are the stakes of mimesis. The distinction between experession and end event needs to be situated whitin this particulur frame because, as a discintion, it can function only on the assumption that is componnents are reciprocally related. Mimesis and representation contatin within them the possibility that the depth they demand may come to be denied andtherefore that the work of art, or object of interpretation, immediate giveness. (This is not the risk within mimesis, it is simply a negative possibility.) Morover, whatever force this eventulity may have it can only be derived from the denial of depth?Unders tanding both the event, and the event of plock's ' action paintings', will hinge upon recognising what is at play in this question. Indeed it is possible to go farther and sugest that advancing such a denial does itself trun upon maintaing the effective dominance of the opposition will, in this instance, result, not in the vanhising but in the redemption of depth. Even though they would henceforth be placed beyond the pruview of prority, bothdepth and the surface, would nonethelless be repated; hower no longer as a functional opposition. The universe that is seen under this light is not the same old universe anymore. The artist doesn't try to comprehend the situation, that the perception object is in, by identifying, instead he/she puts forward the universal connections and values (secret values such as equilibrium, condition, measure, number) by not taking into account the coincidental features that objects have. What she/he does is abstraction. As this values don't exist naturaly for us in nature, the relation between the art and the nature would change. At this point, imitation ends and the transfer the esthetical form to another reality, to a special, much more profound universal reality, begins. This happens because this universal reality, that the abstract art looks for, is not the spiritual reality we are experiencing now. The way this reality exists would also be different from the spiritual reality and the objects that form this reality. As the universal reality is a basic existence for the spiritual reality, there would also be an esthetic-ontologic first example, a prototype for the forms the universal reality takes. The first examples are the first forms of existence. The abstract art is given a material form as constant, ontplogic first examples. Nevertheless, to see the universe under this light is not an usual point of wiew. According to Piet Mondrian, the art and the nature are combined. This wiew uses new ways of expressions. These are geometrical shapes. However, these shapes state universal things that are based on individual. Universal only takes a material form in individual. The unity that artwork has wouldn't, of course, have similarities with the nature and the natural shapes. The pile finds the artworks that have this unity and the completeness strange because the pile has always found the nature and the natural shapes in art and it got used to it. The abstract art should basically be taken into account in that kind of ontological and metaphysical qualities. As far as we know from Wilhelm Worringer till today, the reason why the abstract art uses geometrical shapes is based on ontological and metaphysical qualities. Using geometrical shapes is not a goal, but a tool for the abstract art because abstractism is not a method, a way, but it is to think of and to form the constant, basic existence, the profoundity. In this sense, there is a new existence and a new reality in abstraction
Tez (Yüksek Lisans) -- İstanbul Teknik Üniversitesi, Sosyal Bilimler Enstitüsü, 1996
Thesis (M.A.) -- İstanbul Technical University, Institute of Social Sciences, 1996
Anahtar kelimeler
Güzel Sanatlar, Espas, Işık, Renkler, Resimler, Fine Arts, Space, Light, Colors, Pictures