Renk ve biçim etkinliğinde soyutlaştırılmış figür anlatımı

Abstract

ÖZET Resimlerimde, betimleme (nü) ön planda olmakla birlikte, resmin iki boyutlu gerçekliği üzerinde durulur. Bundan ötürü,, figürler yüzeysel ve belli bir ölçüye kadar geometrik disiplin içinde verilir. Ontolojik açıdan üç boyutluluğa mahkum da olunsa, figür betimlendiği sürece resmin kendisi nesne olmaktan çıkmaktadır. Oylum ve mekan yanılsaması ile hesaplaşmanın yüzeysel olanla da sürdürülebileceğini göstermek istedim. 1960 lı yıllarda, iletişim biçimlerim keşfetme, onlara eleştirel bir bilinçle bakabilme amacıyla yapılan bir çağrı olan Pop Art, kitle iletişim imgelerine dayanır. Filmlerdeki, resimli dergilerdeki, reklamlardaki, tüketiciye yönelik d esenlerdeki kitle imgeleri, Pop Art'ın malzemeleridir. Diğer pop sanatçıları gibi, erotik imajları resimleyen pop sanatçıları da figüratiften yararlanmışlardır. Günümüzde, reklamlarda, gazete ve televizyonlarda, erotik bir imge olarak kullanılan kadın, bir tüketim nesnesine dönüştürülmüştür. Resimlerdeki çıplaklar, kadınların seyirlik bir bir nesne olarak gösterildiği erotik fotoğraflardan alıntılanmıştır. Seçilen nülerde yüz yoktur; el kişiliğin göstergesidir. Kadının erotik batlarının belli bir biçim seçiciliği ve disiplini içinde gösterilmesi, kadının erotik imgelerinin, kişiliğinden bağımsız bîr tüketim malzemesi olarak kullanılagelmesinin bir ifadesidir. Resimlerimde nü, soyutlamacı yaklaşım içerisinde, seyirlik bir nesne olmaktan çıkartılarak, resmin kendiliği içinde bir anlama kavuşturulur. İzleyicinin, öncelik olarak resmin kendisiyle, daha sonra biçimler aracılığıyla resmedilen figürle diyaloga girmesi düşünülmüştür. Bundan ötürü yer yer biçim figüre yeğlenir : Soyut ve aynı zamanda figüratif. Biçim elemanları, belirli bir nü'nün yapısal karakteristiğini vermekle bitlikte, kompozisyon içerisindeki diğer biçim elemanlarıyla bir araya geldiğinde, kompozisyonu oluşturması için tamamlayıcı birer görev üstlenmektedir. Renk ve biçim, olması gerektiği yerlerde ve biraraya geldiğinde kompozisyonu oluşturabilecek birer elemanda-. Figürün kendisine aracılık eden renk için taşıyıcı bir zemine dönüşme eğilimi ağır basar. Renk, kendisiyle ifade edilebilen çağrışımlara sınırlı ölçüde açıktır. Ön-arka ilişkisi, bir mesafe kaygısından çok, rengin doğasından kaynaklanan dolaylı ve o ölçüde keyfi bir yanılsamadır.

SUMMARY `The aim is not repeating the seen, make it seen.`P.Klee Abstraction is that showing the cognitive operation of one of the property of natural objects. It's not a direct description, it takes place from the definition seperated summarized, cleared and purified by the artist Wanting to write is formed as a result of abstractive talent. In Art of Egypt, which uses human figure in hard rule, abstractive depositions are seen in respect of shape and pose. On the other hand, Greek Art has been effective on changing the stereotyped style. After the Middle Ages Art, that base on the paintings with sacred topic, that Artists'ability to define the out of world develops by the Rönesans which focuses on the human. Michelangelo (lö* century), who had tryed to show the alive end power of the life on muscle of nudes, used exaggeration in his paintings. Moreover, El Greco (16th century) had prefered deformation to give the human delicacy at best. In addition to these, Cravaggio's paintings are based on the contrast of bright-dark. In Empresionism (19* century), the color system is more important than the object. Gauguin says that the color has a different meaning in painting farther on being object's color, while putting down the misleading of successiveness in the space of the painting, taking the topic to the surface from the deep. So, while the painting loses the deeping and being close to real in space, as a result it achieve being two dimensions.-n- Empresionizm starts after turning of artists from the nature to themselves. In other words, crossing from out to in observation, Kandinsky Weaves that the painting don't need out objects, and visual excitements can be transfered by abstractive colors and lines.- And he becomes the leader of first paintings without figure. Matisse, reduces the shape of the nature to two dimensions and tries to express the objective deeping, says that he looks for the quality of the paintings in the relation of the colors. Picasso, who gives the first paintings of Kubism, research imagination between the parts of the objects in different terms. In fact, representing the implicit of the space is more important man the object. Morever, there is a design of space in which the objects are seen from the different visual angle. The painting is a work designed according to space that expresses the view by taking attention to its rules first for Kübist artists. The works of Klimt that externalize the contrast between figure and surface, show that painting space starts to be forgotten which is reduced to decorative form. For Mondrian, the surface of canvas achieves owness. Pop Art, a discovery about the types of communication in 1960's and an invitation for looking with critical thinking, is based on social comminication. Social image of the designs in films, magasines and advertisement for customers are the material of the Pop Art Roy Lichtenstein and Andy Warhol are the certain artists who use the attractiveness of the image in social comminication tools in their paintings.-m- The paintings of Tom Wesselmann, who paint the dreams of western people, consist of the lovings, eating, listening radio etc. IBs famous American Nude was painting in a professional design and color as purified and stylized. He used the quality, that about using silhouette end emty space, was gotten into Art by Ingres at the begining of the 19 th century. Because he affected from Matisse, most attractive side of his paintings is the bright colors. As the surfaces become larger, the colors becomes more streight end brighter and the lines becomes more hard and open. The sound of the painting becomes sharp. Also erotic images are the materials for the Pop Artists who use the image of modern city culture. While painting the erotic images, they use the figures. One more result of the Pop Art is that figures become again normal for vanguard environments: Abstractive and figurative at the same time. Girls of magasines, funny histories, advertisements and saucy women of posters are the beginings of the Tom Wesselmann paintings. Burning as a woman means burning in a privative place of a man overship. Men behave, women see. Men watch the women. In triditon of Europe, Nude is not the begining of the painting, it is the seeing shape that the painting recieved. Being nude means that being without clothes, but Nude is an art. Being without clothes means beang own. On die other hand, being nude means being seen without clothes to others, being understood as own. For being Nude, nude body must be seen as an object The aim of nude is being watched.-IV- Actually, usage of women in advertisement, newspapers and T.V. is not changed generally. Women who used as an erotic image, becomes an consumptive object. Nudes in my paintings which are seen as an object for watching, are taken from the erotic photographs. Choosen nudes don't have faces, Hands shows the character. Furtermore, women are wanted to give the statement of helplessness ofbeing surrender by the role given to women. Showing the erotic parts of women in a certain shapes and disiplines, express that women's erotic image is used as an independent consumption material So, nude reaches meaningful in ist own by this thinking by not using it as a watching object in respect of abstractive side. Spectator is wanted to go into the nature first by own than by the figures. As a result, especially shape figures are prefered; abstractive and figurative at the same time. While definition (Nude) is important, the reality of the two dimensions is emphesized, in my paintings. Because of that, figures are given geometrical end superficial upto a certain size. Although it is sensmved to be in two dimentions ontolojically, the paintings don't become object as the figures defined, m addition to these, I wanted to show that setting the account mutually at space and curling can be continued also in superficial areas. To be formed sensitive end erotic means, selectiveness of the shapes are used in figures. In typical shapes, the visibility of being nude reflects also the variables about erotic touching.-V- Giving the matter structure in classical mean is the aim in my abstractions, and small shapes closed to reality strengthen the association of the matter structure of the nude woman image To prefer `hand` as this shape is an couscous selection. Shape elements give certain structural character of a nude, and when they come together with the other elements of the composition each charges a complementary assignment to form composition. The color and the shape are the elements to form composition when mey are used at suitable place end together. The tendency of transformation to a carrier base of figure has strong influence for the colors that act as an intermediary with figure. The color is open to the association that can be expressed with own. Front-behind relation is an indirect and tipsy reflection result from the nature at the color more than a distance anxiety.