Biçim ve renk karşıtlıklarıyla soyut kompozisyonları

Abstract

ÖZET Kolaj tekniğini eskiz aşamasında kullanarak yaptığım resimlerimde biçimleri soyut parçalardan oluşturdum. İrili-ufaklı, çeşitli genişlik ve uzunluktaki şeritlerden oluşan biçimler kompozisyonu oluşturacak şekilde dizayn edilmiştir. Resimlerin ön planında kullandığım şeritler geometrik bir anlam taşırken, arka planda oluşturduğum biçimler ise organik bir değer taşımaktadır. Bu şekilde organik ve geometrik biçimler karşıtlıkların savaşımı olarakta algılanabilir. Bu biçimlerin kompozisyon içerisinde algınanan dinamizmi, resimde enerji etkisi verir. Biçim bir etkidir, hareket ise sonuç. Sert ve geometrik biçimlerin, yumuşatılmış biçimlerle birlikte kullanılması harekete yardımcı olmaktadır. Canlı ve doymuş renkler kullanmak resimlerimde dikkat çeken konulardan biridir. Bundaki amacım ise izleyenleri o an için bile olsa coşkulu ve heyecanlı bir dünyaya götürmektir. Resimlerin ön planında kullandığım şeritleri homojen, düz yüzeyler şeklinde boyarken, arka plandaki organik biçimleri degrade yüzeyler şeklinde boyayarak biçim ve renk karşıtlıklarıyla kompozisyonda espası oluşturdum. Beyaz tek başına kullanıldığında durağan ve statik bir etki uyandırırken, diğer renklerle beraber kullanıldığında ön plana çıkabilir. Ben de resimlerimde beyazı diğer doymuş renklerle beraber kullanarak tüm dikkatlerin beyaz üzerine çekilmesini sağladım. Resimde biçim ve renk karşıtlıkları kompozisyonda hareket ve ritm etkisi uyandırır.

SUMMARY In the civilazations of Antiquity all arts were shaped by the religious beliefs and ethics of nations. In primitive communities, to unpredictability and changeability of out side world events lead the communities to abstractionism owing to their li mited knowledge about the universe. The reason is that, primitive commu-'5 nities sought a secure and peaceful place to rely upon because of their fear of this chaos in the world's picture and found this peace in abstract art which comprises unchanging and absolute forms. The basic characteristic of Eygptian painting, which gives it an impor tant place in the history of world art, is its innovative style features. The fig ures and events seen in Egyptian painting were always described with a flat surface approach without any feeling of depth. Any figure movements to create a feeling of depth were always avoided. In the works of the Greek civilization, mythological topics ware sha ped realistcally with a technically developed approach where the gods had. taken the form of men. For the first time, the beauty of human body was emphasized an anatomical proportion was considered. `^ -II-Christianity allowed all types of fine arts, however forced all to work for its religious purposes. Arts gained pace with the Renaissance. Establish ment of perspective rulers and applicaiton of these in arts through mathe matical calculations took place for the first time in this era. After the French Revolution, Europe developed a new world vision, ethics and life style. Thetartist became free, able to choose whatever topic he/she desired. Man or nature, seasons and climatic changes were the topics dealt with by the romantics. Following major changes which influence the society, the thinking patterns of the society also changes and new ideas pave the way to new trends in art. Yet no art trend is permanent. Trends change in parallel with the sentiments and pleasures of the sociely; new approaches and opinions lead to the transformation öf the understanding of art. The beginning of the 20 th century saw the rising of radical transfor mation aspirations in art. The conclusinon was that the traditional means in painting since the Renaissance were extausted. Topic was completely denied in abstract art without figurs. When there is no topic in painting only colour and line remain. Thus, a new art trend, away from all types of social events, was suddenly dominant without -ID-any influence by the sentiments and excitement of the topic and outside the rules of classical painting. Abstract art is solely the art of lines, a harmony of colours. All beauty of abstract art is to be looked for within the no-from, no-figure structure. Kandinsky's opinion was that abstract art reflects what goes on in our inner worlds, as opposed to naturalist art which renders the outside world. If abstract art did not have any other meaning than conveying inner frial in the experience, this art form would remain a new expressionist tradition. Kandinsky believed that nature deteriorates art. In this approach, art was considered, rather than an imitation of nature, an original entity created by the artist with colour, form and lines, having no relation with nature and objects. It was not necessary to observe the conventional painting and canvas work techniques in order to paint pictures. Different compositions can be created by compiling various magazine and fabric pieces and other re mains, and gathering and pasting these. Taking this as may starting point, I formed my sketches by using collage. 1 applied collage to my sketches by combining pieces from various magazines such that they have internal balance and harmony. -IV-Using visual tools of different qualities in one picture by mixing these is a practice not complying with the Renaissance traditions. However, this practice is not against the traditions of the Midde Ages or the Egptian art. In the old times, various means were used to increase the value or effect of a painting, such as ornamenting with gold, silver, gilding or gemstones. There are older exemples to using a more ordinary material such as newsaper; just like the painter placing a piece of paper on the canvas to try a specific form or colour. In my paintings, made by using collage in the sketch stage, the forms comprise absstract pieces. The forms consisting of stripes of various width and length have been designed to form a composition. The stripes used in the foreground of the stripes carry a geometric meaning whereas the forms in the background carry an organic value. Thus, organic and geometric forms can be perceived as the conflict of contrasts. The dynamism of these forms, as perceived within the composition, give the effect of energy in the painting. Form is the effect, motion is the result, Using rough and geometric forms together with softened forms serves the motion. 1 painted the forms in the foreground of the paintingns `as, homogenous _V-flat surfaces, whereas the organic forms in the background as degraded sur faces, so that I could create speace in the compositions through the contrast of forms and colours. When used alone, white influences a static effect. However, when used with other colours it can come into the foreground. Using white with oiher satuare.d colours in my paintings, I aimed that all artention focus on while. A noteworthy characteristic in my paintings is the use of vivid and sat urated colours, lis purpose is to take onlookers to an exciting and emotive world, even if this lasts only an instant. Form and colour contrasts in a painting give an effect of motion and rhythm in the composition. Nature is the greatest artist with its materials, colours and forms. Painting is the art of gving a direction and soul, and recreating the colours, lines and forms of this great artist who changes and improves continously. However, the identity of a real artist is not a form and colour c%)i£r who duplicates nature, despite the artist's respect to nature and fidelity to form. The artist finds and extracts in its pure form the impressions necessary for him and -VI-his work from within this pile of forms, motions and changes. These im pressions are not the basis of the work to be produced by the artist, but its supporters. In this stage, the materials, colours and forms of nature flow from the painter's brush and spread on the canvas as coming from a new world. There is order, harmony and appreciation criteria in this spreading. -VII-