Gerçeküstünde soyutlama ve deformasyon

Abstract

ÖZET Gerçeküstücü tavırla yola çıktığım çalışmalarımda; düşsel imgelerin biçimlerinde yeni bulgular aranmaya çalışılmıştır. Bir imgenin en etkileyici şekliyle geometrik yapısını çıkarabilmek için `deformasyon` arayışlarında bulunulmuştur. Yapısında benzerlik bulunan biçimlerin bir araya geldiği kompozisyonlarımda, bütünlük ilkesi korunmaya çalışılmıştır, ele alınan her figür ise soyutlanarak temel yapısı çıkartılmaya çalışılmıştır. Soyutlama aşaması içerisinde gelişen çalışmalar, mantıksal-sistematik bir süreç izlemiştir. İzleyen süreçte, ilk olarak ele alınan doğru biçimlerin çıkartılması olmuştur. Daha sonra bu biçimler, kompozisyon oluşturacak şekilde dizayn edilmişlerdir. Kurulan kompozisyonlar içerisinde; ritm, espas ve açık-koyu değerler başlı başına veya hep birlikte ele alınarak, bir dizi eskiz aşamasından geçirilmiştir. Biçimleri bir araya getirmedeki düzen arayışı kompozisyonları espas kavramlarıyla buluşturmuştur. `Monokrom` renk düzeni içerisinde yapılan çalışmalarda; renk ve değerleri dengeyi sağlıyabilecek en uygun yerlerde kullanılmaya çalışılmıştır. Çalışmaların ilk dördü kırmızı, diğerleri ise mavi ile renklendirilmiştir. Renk çalışmalarım izleyen süreç, bu iki rengi ayrı ayrı ele alarak geçmiştir. Dokunun, renk üzerinde büyük etkisi olmuştur. Fırça, spatula ve tutkal kullanarak yapılmış zemin üstü dokularıyla ise renk ve biçime canlılık kazandırılmaya çalışılmıştır Yuvarlatılmış, eğri biçimlerin, kompozisyon içerisinde algılanan dinamizmi, resimde enerji etkisi verir. Form bir etkidir, hareket ise sonuç. Sert ve köşeli biçimlerin yuvarlatılmış yan geometrik biçimlerle birlikte kullanılması, harekete yardımcı olmaktadır. Dörtgen ve dairesel şekilleri de yan yana veya üst üste koyarak da kontrast etkiler oluşturulmaya çalışılmıştır. Çalışmalarımda; ışığın farklı değerlerde bulunan geçişli düzeni, görüntü elemanlarındaki, özgün bir espas disiplini kazandırmaktadır Biçimlere saydamlık hissi verilerek deilızyonlar yapılmaya çalışılmıştır. mSoyutlayıcı anlayışım; geçmişi tamamiyle silmek ya da inkar etmek değil, büyük biçimsel gereksinmelerin uyanık bilincine vararak, hiç de geçmişi gözü kapalı olarak taklit etmek gerektirmediğini, fakat bu bilinçlenmenin sonsuz yenileşme olanaklarını, kendi içinde taşıdığını göstererek, bir sürü yeni yollar açmaktır. Ortaya koyduğum plastik sorun, soyutlayıcı sanatın anlayışında, gerçeküstücü imgelerin birleştirilmesidir. Günümüz sanatıyla, gerçeküstücülük arasında bağlantılar kurmadan önce, gerçeküstücülerin onlardan öncekilerle bağlarının araştırılmasının, doğru olacağına inandığımdan, çalışmalarımı; bilgi edinme ve uygulama olarak ikiye böldüm. Uygulama aşamasında, edindiğim bilgileri devreye sokarak, sezgi ile mantığımla eşgüdüm içerisinde çalıştım. Sezgilerimi ve fantezilerini konu alarak, mantığımla ve yeteneğimle şekillendirmeye çalıştım. IV

SUMMARY The subject matter of my study in my works, which I have initiated in a surrealist manner, has been an attempt toward seeking some new findings. Through the search of how to extract the most impressive geometrical form of an image, I have attempted certain deformation explorations. While doing this, I have tried to solve the difficulties within the limits of my own approach concerning deformation without any deviation toward a realistic method of expression. This way, the figures considered have strated to gain some new aspects contrasted to their own expression. In the contents of the compositions configured through the forms of a similar structure, a principle of integrity has been achieved. Each figure taken as a subject matter has been abstracted and tried to attain a basic structure. The abstraction process was developed through some logical-systematic procedures. Initially, I have proceeded my studies in the direction of finding certain accurate forms. Subsequently, I have designed those forms in order to get a form of composition. In the contents of my compositions, certain aspects such as rhythm, spaces and light-dark values have either been taken alone or altogether, and applied a procudere of esquisse. A search for an order in the composition of forms, has attained a concept of space. The forms in large or small proportions could be seen either from their front, rear or diagonal views thus making a space. Occasionally, the appearance of the form by giving some illusion as if they were placed either before or beyond the surface level of the tweel attains a feeling of eternity thus creating the space in the texture of them. Presantation of low value fields over high value textures and, quite contrary, high value fields over low value textures increases the effect of space. In order to attain a balance of light-dark values in my compasitions, I have initially determined certain color values and other values in my monochrome works, and tried to locate them on the most suitable places in order to obtain a balance. In four of my eight works I have selected the color of red as a subject matter, while the remaining four wereof blue. Subsequent to the color selection process, I have tried to understnad those two colors by taking them as a subject matter seperately. At first stage, I have made studies on the red. I have examined certain samples of it in the history of arts, and those samples have been a guard in my works. I have created by colorful esquisses in water colors. In my works of red, I have applied certain assortments of red; and in my worksb of blue, I have extracted assortments of blue or applied certain default samples. The texture had a significant affect in creation of the color. Utilization of a brush, scraper and glue over the tweel surface provided a lively color. Assortments of a color have created a certain harmony by mans of the texture. Shining of a light originated from a dark background provides that color and form, and naturally the composition itself, with a dynamic aspect. For that reason, I hve composed my works in an approach of dynamism. The dynamism of the rounded and curved forms perceived in the composition provides a kind of energiy effect in the whole of the picture. A form is an effect, and an action is a result. Use of sharp and cornered from together with softened semi- geometrical forms contributes to the action. Use of rectangular and circular forms side by side has made certain effects of contrast. The transivite order of the light in different values, has contributed to attain an original space discipline with the vision elements in the whole of the works. A light in a picture, in addition to its aspect of balance in obtaining a light or dark vision, makes a space effect as well. In cases that a light comes out of a dark background, the spactator is given a feeling of volume concerning such a field. On the other side, a light dispersed from a point beyond a certain form, by covering any anterior form with shadow, gives us certain effects full of illusions. Also, the light touching over the surfaces of the objects causes a shining at certain points, thus providing a vision of a certain matter. In my works, by providing the forms with a vision of transparency, I have tried to create some effects of illusion. The objects observed as if they were located either before or beyond the picture surface, by being collected under the same platform, have contributed a vision of transparency over the surface of the pictures. VIThe asymmetry in my compositions has been my own approach in the expression of an artistic freedom. The formal aspect of all those works is kind of experiment toward the complex phennomenon surrounding the spritual inner world. The effect of deformation in my abstractive-surrealist approach, contrary to the classical perspetive that is based on a fixed spectator, is a kind of dynamic deformation shaped from my own space approach. My approach to abstraction is neither removing the past nor an opposition to it. In all important eras, observation of certain formal necessities in the art of painting has never required an unconditional imitation of the past. After all, such an awareness has brought the potentiality of a renewal thus opening many new ways. The plastic question in my works in composition of surrealist images by the application of an approach of abstractive art. While doing this, I have tried to create accurate compositions by emphasizing on certain aspects such as form, color, space and texture. Because I concluded that exploration of the connection between the surrealists and their antecedents would be much productive before making a connection between surrealism and today's art, I decided to divide my studies into two different parts as gathering information and application. By using the information I have gathered during the application process, I have utilized my intuition and logic in synchronization. By taking may intuition and fantasies as a basis, I have tried to create the forms by the help of my logic and ability. When we have studied the age prior to the surrealist era, we can see the fact that the traces of surrealism goes back to the end of the medieval age. Emergence of fantasies in the artistic works has been a rise to surrealism. If we consider the formation of fantastic themes under religious effects in the history of art, we can see the fact that all of those are actually exhibition of erotic fantasies. When I studied the first artistis that have given works in fantastic themes, I came across with Bosch. The artist has given his works in conformity with the popular medieval convertions. Bosch, having a close observation toward the daily life, and being aware of the flame of the hell as well as of dark pleasures, is almost a surrealist. VllDuring the era starting from the ends of the medieval age to the beginning date of the surrealist movement, i.e. during the baroque, symbolism and romanticism movement, we can also see some other artists that my be considered to be the pioneers of surrealism. The Dada movement has been the initiator of the `Surrealism`. The noisy demonstrations of the Dadaists, and their approach of letting the society down, as well as their belittling menners toward public reconciliation, were showing their will of overwhelming the `double - faced` attitudes which enslaves the man. Andre Breton, who cannot endure this mean destiny, cries, `I reject to adjust my life in accordance with the ridiculous rules of the human lives in this world`. Dada destroyed the traditional classical human concept. Creating a new type o man was the duty of the surrealists. By this way, that skepticism would not only be a contribution to the demolition of the old order, but also be helpful in preparation of humanity that found a new order. THe year 1921 was the end of Dada. In 1924, Andre Breton published his `Le Premier Menifeste du Surrealisme` (`The Primary Manifestation of Surrealism`), thus announcing surrealism as an artistic movement form then on. As a principal law to his manifestation, he accepted inoculation of enigmatic powers of the surrealist art, and made a criticsm of aesthetic. That is why a surrealist painter accepts an ordinary object, a piece of newspaper, and even the pedal of a bicycle as a `holy` thing, Surrealism, while doing all thes, has also applied a provocative approach in order to shake the bourgeoisie and its values; and adopted unexpected and sudden appearances as a new technique. The bourgeoisie, let alone having the expected upheaval, quite contrary, has accepted the obstinacy of surrealism as an artistic vurtue. It seems so that, when the 1980's considered, the post modern cultural works, obviously as a result of this domestication period, has been utilized the methods of the avnt-garde since the beginning of the century. The `kitsch` elements in our daily surrouding, and the sentimentality of pretentious art works have been a part of them. As Jameson said, the anti-social visions qualified as opposing views in the beginning of the centruy have now been the control of matter. The mechanism which provides the reproduction of the matter in a gradual acceleration has been an indispensable formative element. VlllThe post-modernist approach of art which utilizes the tools of the surrealists has no any intention of transformation. It lacks any composite characteristics power other than the consumption society. And it is contanted with certain applications that are drivan by the comsumption society only. IX