Düşsel mekanda espas, devinim arayışı

Abstract

ÖZET Konumuzu `Düşsel mekânda espas arayışları` başlığına koşut `Düşsel - kurgusal mekânda devinim arayışı` ya da `Düşsel kurgusal mekanda dışavurumcu devinim` olarak tanımlayabiliriz. Çünkü `Devinim` eylemi-olayı `espas` kavramı içinde gidip gelen bir tür devinim-biçimleşmeden doğan bir aksiyonu, oluşumuda ifade etmektedir. Sanat tarihi evreleri içinde espas olayı değişik boyutlarda irdelendiğinde her çağın estetiğinde karşımıza çıkan, çözümü perspektivle, plânla, yüzeyle, plâstik değerlerle ilişkili olduğu kadar, bana göre `Devinim` kavramı ile de bir likte gündeme gelmektedir. Devinim, sanat tarihinin her döneminde, evresinde az ya da çok vurgulu ritmlerle oluşmuş, çözülmüş bir sorundur. Bu sorun kendi içinde de büyük bir dışavurum davranışını yaratmaktadır. Devinim ve devinimin yarattığı dışavurum - ekspresif davranışını da sanat tarihi çoğu örneklerinde değişik, öğelerle bulmak olasıdır. Çalışmalarımın başlığını, araştırdığım değişik konuların aralarındaki bileşkede topladım, tasarladım. Devinimde dışavurum olayını, sanatın tüm evrelerinde, örneklerinde olabileceği savundan başlatmayı uygun gördüm. Çalışmalarımı bu doğrultu da yoğunlaştırdım. Ayrıca dışavurum akımındanda koşut olarak anlatıma gerek duydum. Sanatta konudan doğan figüratif öğelerin devinimi ile soyutlamadaki salt resimsel öğelerin devinimini kendi resimlerimle özdeşleştirerek birlikte örnek lemek, yorumlamak istedim. Sanat tarihinin sayısız yaratılarından seçilecek örneklerlede bu çalışmayı, yorumlamayı ele alabiliriz. Ancak ben isimler ve kısa yorumlar vermekle yetin dim. Boyutlar çok açılımlı, çok derin olabilecek böyle bir konuyu ilerde bir başka çalışmada ele almak istedim. Bu araştırmanın ilerdeki çalışmalarıma birtemel örnek, yöntem olabileceğine inanıyorum. Tek basma `Dışavurum`, `Mekân`, `Soyutlama`, `Devinim` olayını ir delemek yerine de konuyu `Düşsel - Kurgusal mekânda espas arayışlarında dışavurumcu devinim` tanımlaması, olayı şeklinde toparlamayı, birleştirmeyi tasarladım. Böylece bir kaç konunun bileşkesinden doğan başlığı tamamlamaya çalıştım. Çağımızın başı, eskiyle hesaplaşma dönemi olarak kabul edilir. Doğanın ir- delenmesiyle başlayan bir hesaplaşma dönemidir bu dönem. Sanat natüralizmden soyuta dönen bir anlayışı yaşar. Sanat doğayla bağlarım koparıyor, Yaratma özgürlüğüne kavuşuyor. Soyut sanat, çağın sanatı'nın üslûbu oluyor ve soyut sanatçılar evrensel in sanlık anlayışı içinde yeni kuşaklara, yaratılara öncülük ediyor. Çalışmamı kendi resimlerimle özdeşleştirerek bir bakış açısı yaratmaya çalıştım.

SUMMARY We can identify our subject as `Search for motion in imaginative land ` or ` Expressionist movement in imaginative fictionary area ` in parallel to `Search for space in imaginative places.` This is because the act of `Movement` - a movement which goes back and forth with an idea of space - indicates an action, a realisation. When you examine the space, in various dimensions within periods of the history of arts, my opinion is that, it appears together with the idea of `move ment.` It is something that appears in the aesthetic values of every age and whose solution is closely realted to perspective, planning, surface and plastic values. Movement is a problem that appeared and was solved with slightly or heavily accentuated rythms in every era of the art history. This problem creates an act of expressionism within itself. It is possible to find the expressionism created by motion in many examples of the history of arts with various, diverse elements. I have tried to compose the heading of my researches among the resul tant factor of my various subjects. I thought it appropriate to consider the idea that the expressionist movement is apparent in every aspect, in every example of art, concentrating my efforts in this direction. Furthermore I found it neces sary to draw a parallel to expressionist movement. I wished to comment and identify the motion of the figurative elements that are born from the subject motion of the bare picturesque elements in abstraction with my own pictures. I have named the area that the picture covers as the `Imaginary area` within the subject. This definition can be used to express all researches or crea tions that go from surface to space. 34The art of making a picture can be identified as expressing a three - dimensional object in two dimensions. Art of making pictures, in general, has tried to spread the elements on the surface or trying to spread them on thesur- f ace andgive them depth. The distance between two points in a picture creates a situation showing the time and distance. It gives the idea of space containing time together with length, width and depth. Plastic concept gives three dimen sions whereas decorative definition only covers length and width. The idea of infinity in picture, in the Western art started with Renais sance and lasted until the middle of the 19 th century. The boundaries of the concept of infinity, or space, has developed differently in various civilisations from the point of style and characteristics, due to the point of area and time dif ferentiations. Very different applications and creations have been obtained for the idea of human being - art concept which started with Altamira, and Las- caux, until our day. We can give the following examples to the distance - space concept, that developes in straight surfaces: a- The type that shows life in pictures and reliefs from Egyptians and Mesopotamians. A concept of area that is formed by placing consecutive sec tions that follow each other on top of each other and putting these side by side. b- The frontview of the area that has been divided by the geometry of the Christian beliefs in Middle Ages and limited by a frame. The Egyptians and the Mesopotamians also expressed the space concept as two dimensional figures placed one on top of the other and brought together side by side. Even today a lot of artists have worked with this concept Not using light, shades and volume is another imprtant difference with the pictures created by the Renaissance concept As an example of cubical distances we can mention all of the Far Eastern arts. As an example of the conical distances, we can show the pieces of plastic 35arts during the period of 15 th century Italian naturalism studies. The discovery of perspective has ruled until 19th century. Florence became the leader of the optical sciences with Euclid's geometry. It is possible to see perspective, deforming specialties in the scenes that lead to far distances and depths of the baroque arts And it it further possible to note the conical areas in the motion- aryarea. Plastic distance: This is the area that is born from the combination of three dimensional areas that are specific to color and shape into the two dimen sions of the picture. Another way of expressing it is to say that ` plastic area` is one that creates ideas and inspirations from the images that has been created by the eye. The replacing of the straight areas by conical ones indicates the con cept of plastic area. The point of action of conical area that effects the eye and thought is a single point of eye. Plastic area on the other hand, multiplies the eyepoint. The object suddenly has the possibility of being shown both from in side and outside. Analytical cubism has been created from the idea of plastic areas. Plastic area was primarily bora of third dimension, the changing planes and tone values of light and shade. Identification of nearness, distance, heat, cold has been discovered. Before the 14 th century artists defined sky by painting in blue that indi cated emptiness and used red that indicated sky to show fullness. These two colors were two symbols. On the other hand, the art of our day uses color in its own function at the same time, aside from concepts of this sort. Moving distances: shows the passing of moving plastic mechanism into time which is the fourth dimension, a time factor of an optical event.It creates the transition of plastic elements into movement. Remember Vasarelly with his eyecraft Cezanne has looked at a single object from various points, holding it in continuous stare of the eye. The masters of the Renaissance used contrasts of light and darkness which is diffused or concentrated, ever changing in deep space to solve the movement problem An example is M. Duchamp ` s ` The naked lady descend ing the stairs,` in 20 th century, m this picture, the energy - power exuding out of a human body descending stairs, is in constant repetition, thus creating the 36movement of the planes. The Futurists, also organised all planes, backgrounds, objects and movmenet with the same thought and action. We can list various examples starting from Altamira, to Byzantium, Giot to, Caravaccio, Picaqosso, Severini, Chirico, Matisse, Rene Magritte. Baroque, Expressionism, Fov, Die Brucke, Cubism, Futurism, Der Blau Reiters have all looked for a different place and space in abstractness. The idea of picture between surface - place - space had a continuous motion and this mo tion contained various dynamics. The heading of `Searching space, motion in imaginative fictional land ` was born from this idea. 37