The Diversity of the Visual Form

Abstract

Our life is an educational continuum, Today we live at a time ruled by the visual, with images which embrace, subdue and absorb us. Visual artistic creation is correlated with the natural-geographic and biological context as well as with the historical, social, political, religious and cultural ones. This context echoes the incidence of the environment over the artist. Filtered through the artists’ own personality, the visual forms through which the artists express themselves result from this incidence; each image makes its way among a cluster of virtual possibilities. This path, of the accomplishment of the forms that define a specific style, can be found in successive, intuitive and/or deliberate explorations, in a theoretical and practical sense; alternatively, it can appear as a derivative of a pre-established time-and-space-bound concept. Most of the time these two possibilities intertwine in the artist’s option, (un)conditioned by circumstances, for a canon, current, fashion or style. Therefore, artistic forms also imply a r comprehensive view, which can expand the analysis from the independent, abstract mode, of the structuring of the form itself, to the minimal interaction with other fields of human life and knowledge. The Continuum modular ensemble, including double-sided personal paintings, discloses, in a creative manner, both existing and potential aspects of the diversity of visual artistic form.

Keywords: Educational continuumimageinteractioncontextvisual artistic creationmodular paintings

Introduction

As an important presence in concrete and imagined realities, visual forms deserve a more extended

and deeper attention.

Located as we are between the microcosm and the macrocosm, in the visible surrounding world, we

constantly wonder about the beginning , diversity and transformation of form, which, from the

microscopic to the macroscopic, on each of the three levels mentioned, joins the two; this resembles an

orchestra in which each level has a double status, that of conductor and of interpreter , who can come

out as a soloist. Therefore, the beginning of form includes, in the seed, its diversity and transformation;

the diversity of the form implies a beginning and initiates the transformation; and the transformation of

the form comes as a result of diversifying a beginning . However, all these stages can also be seen

separately. Visually, in fact and through their quintessence, they can be expressed either in harmony

and in disharmony. When dealing with the ecology of the visible, the forms that we propose or create

seem to feel that they have to assume a role of sanogenesis , therapy through art. Once launched in

public, the created forms acquire independent power; their relation to the viewers becomes creative in

itself, through the reactions they entice. In our time, in its moments of crisis and tension, human nature

might feel a stronger necessity, not to reverse visually only a dissipative result of some painful

emotions (with their psychological chain effects), but to try to counteract the tendencies to violence and

dislike by inducing a balance by means of plastic, stress-free, harmonious forms. Thus, as the design of

some configurations that also determine conceptual recoveries, the non-invasive visual symbols can

produce a state of spiritual elevation through their methods of artistic constitution.

This paper is based on its author’s own concept and artwork. Research conducted on a selection

from an extensive body of work resulted in a synthesis and several inferences shaped into a personal

visual artistic proposal: a modular Continuum of double-sided paintings (Figure 1 ). This personal

concept and visual-art ensemble present creative compositional paths both for artists and receivers; in

this interaction, the latter can become creators, through their thoughts, attitudes and actions.

Figure 1: Project of modular painting, double-faced, CONTINUUM. (Fronts, backs and compositions of the panels in the CONTINUUM -Shadows and Lights ensemble)
Project of modular painting, double-faced, CONTINUUM. (Fronts, backs and compositions of the panels in the CONTINUUM -Shadows and Lights ensemble)
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The diversity of visual form

Purpose

The purpose of this work is to entice a need for visual knowledge, with a view to avoid the

destruction of form through violent actions and to stimulate rethinking, analytic decomposition and

artistic re-composition based on harmonious premises. This allows the cooperation of methods and a

balanced syncretism of the constituents involved. Therefore, original solutions, referencing fractals and

gesture extensions may appear widely; the incidence percentages of the ordering and random factors

determine the resulting artistic and visual aspects.

Objectives

The objectives of the Continuum concept are the development of visual artistic creativity. The target

groups are people without professional artistic experience whose awareness can be raised towards the

diversity of visual artistic forms with reference to natural forms and to forms created by artists.

Methodologies and results

Enticing a taste for analysis and comparison of diverse visual forms can stimulate, at any age,

receptive mental attitudes, of contemplation and research, in nature, life and art. Simultaneously or as a

follow-up, creative actions are achievable both through initial ludic, free, entertaining approaches of

playing with visual forms, as well as through induced and proposed problem settings of approaching

and constituting groups of forms with certain meanings and also artistic solutions. The popularization

of a set of activities from the author’s own artistic creation, a set of works entitled Continuum, supports

the plea for the aesthetically non-invasive diversity of the visual form .

In his The origin of the form in art, in an exploration beyond the youthful consideration of the

artistic act gratuity, Herbert Read (Read 1971), states that art is an ordering , through the creation of

form and beauty, and at the same time a model for the social conscience. Form is defined as a result of

the entire creation process, from the idea that generated the artwork to the total number of language

means that shape the work – color, line, volume etc.

Our life is an educational continuum , even if we are not always aware of this fact or accept its

evidence and rigors. We live in a time ruled by the visual, in which images embrace, subdue and absorb

us.

Visual artistic creation correlates with the natural geographic and biological context and with the

historical, social, political, religious and cultural ones; this general context is echoed in the artwork as

the incidence of the environment over the artist. The visual forms through which the artists express

themselves are a result of the respective incidence, filtrated through the peculiarities of one’s own

personality; each artist seeks one’s own path through a cluster of virtual possibilities.

The path of shaping the forms that ultimately define a style can be found, in the process of time,

through successive, intuitive and/or deliberate explorations, in a theoretical and practical sense;

alternatively, it can appear as a derivative of a concept, pre-established in a certain time and space, an

ideational base that imposes certain regulations or rules of visualization (as in Ancient Egypt, for

instance). Most of the time, the two alternatives intertwine and the artist opts, unconditioned or

conditioned by circumstances, with varying degrees of subtlety, for a canon, current, fashion or style.

With references to Postmodernism (a cumulation of syncretic artistic manifestations, polarized

internationally), my proposal of Continuum represents an ensemble of double-sided paintings. The

bidimensional modules, conceived and painted on both sides, were reshaped compositionally (photos in

Figure 3 ); they were based on the concept of open creativity suggested to the viewers. The latter can

interact with the painted ensemble of modules and enlarge the range of compositional altenatives, both

bidimensionally and tridimensionally; this extends the diversity of artistic expression. The idea is

inspired from the diversity of the visual form, natural and created by human beings, spontaneous and

deliberate.

Figure 2: (A-B) Ambiental square (Fronts 2A – Shadows; Backs 2B - Lights)
(A-B) Ambiental square (Fronts 2A – Shadows; Backs 2B - Lights)
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Figure 3: Ambiental hypostases of modular painting, double-faced, CONTINUUM - Shadows and Lights. (Fronts, backs and compositions of the panels in the CONTINUUM - Shadows and Lights exhibition. The front the back of the eleven pieces ensemble = eight are correlated with the colors of the solar spectrum + white and black, the geometrical forms associated to them and the days of the week and of the Creation + Parousia. The varied display of the works gives new semantic interpretation to the new compositions. Source: Eurostat)
Ambiental hypostases of modular painting, double-faced, CONTINUUM - Shadows and Lights. (Fronts, backs and compositions of the panels in the CONTINUUM - Shadows and Lights exhibition. The front the back of the eleven pieces ensemble = eight are correlated with the colors of the solar spectrum + white and black, the geometrical forms associated to them and the days of the week and of the Creation + Parousia. The varied display of the works gives new semantic interpretation to the new compositions. Source: Eurostat)
See Full Size >

The Continuum presented in this paper is a double-faced compositional suggestion in itself. It has a

pattern of forms and colours capable of generating other forms which, in their turn, can be assembled

from these components. Almost modules, but still not identical as form, they allow for different

assembling, in relation to one face or another, or with both of them at the same time. The result, that is

the re-shaping, plane or space stylization, allows for natural and man-made forms. Structurally, the

continuities and discontinuities of the composing forms can exist within the forms concurrently. The

opening of a wing, the rhythm of a wave, the approximation of a human silhouette, a tree, a mountain,

a butterfly, a cross form, a roof, a building, a boat, a book and other forms of images that could be

obtained from the Continuum components show that the replacing of the direct, explicitly narrative

representations, with an indirect, allusive representation highlights the symbol as a means for the life of

ideas and stimulates of the perceptive and creative imagination. Thus, the symbolic configurations are

not only those obtained from the concept’s semantic inner structure towards the exteriorization to the

receptors, but also in the other way around: from the results of the associating the elements available

towards the mental re-creation of certain connotations, induced to the author of the works as well as to

the potential beholders-authors. This takes place exactly through the re-composition of plastic solutions

of some already formed forms.

However, these new forms are not cut-outs or variants or associations of borrowed artistic

visualizations, as they are personally conceived. The forms presented and recombined here remind one

of the post-modernist taste for compositional experiments, used as ways of creativity which visualize

and offer a semantic enrichment to some personal artistic suggestions. The idea of pictorial modules

offers the possibility for a variety of assemblies and shifts in connotation. The generalizing and

monumental, initially ludic Continuum is transformed into particular assemblies. Each of the latter

reveals a much closer meaning, through the same plastic elements as in the basic format, of a different

composition as compared to its primordial specific, visual and ideational semantics.

The Universe is reflected in us – in our physical and psychic structure, in our intrinsic order and

disorder - and its creation, in the rhythms, symmetries, asymmetries and everything that pulsates,

appears and transforms within each human being. Resonance logic is present everywhere in the visual

forms of reality and in those which make up the artistic aspects in time and space.

Figure 4: (A-B ) - „ENTITIES” (Compositional display options for the pieces in the Shadows and Lights hypostases)
(A-B ) - „ENTITIES” (Compositional display options for the pieces in the Shadows and Lights hypostases)
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The painting that includes organic and angular forms from the Continuum modular ensemble is

made on wooden panels using geometrical and stylized shapes. These shapes can be recomposed into a

square (Figure 2 ), in a continuum of a frieze or in other bi-dimensional and tri-dimensional, free and

rhythmical associations (Figure 1 , 2, 3 and 4). These suggest nature-created and human-made forms.

The hypothesis can be applied, therefore, not only to painting, but also to sculpture and to the dynamic

possibilities of the programmed movement of some parts (through turns and balance for instance). In

this way, art and technicality merge into a visual performance in which borders between artistic

expressions are blurred. The dimensions of the forms may also vary, from monumental – aesthetic to

miniature – functional. The perception and artistic expression also uses the ludic state, irrespective of

the age of the viewer who might act upon it. Every work or piece from the Continuum painted modular

ensemble can be perceived both separately and in relation to the others. The sections or the painted

modular works have symbols with different semantics. They recompose and bring in new symbolism

and shape images suggestive of cosmic and earth aspects. The images convey the impression of

movement, continuity, of random and ordered situations, of rhythmic pulsation, of composition and

decomposition in diverse elements, with visual resemblances and differences. The name of the

Continuum concept used to entitle the personal ensemble of modular proposals and visual-artistic

works previously presented was derived from the very possibility of endless ways of reception of given

visual forms.

Conclusion

The fascination with the contemplation and shaping of form represents a perpetual challenge for a

visual artist. The initial stage in the ideation process of a creative act always embeds the primary forms,

the very forms from which the accomplishment of the artwork are gradually derived. The conceptual

and technical step an author chooses to take can represent, for another author, a step in the development

of their own different creative act.

Let us assume that we have some visual elements available. We can associate them in various

manners. Those imaginary mosaics , formed by their correlation, give us, along with a compositional

diversity, various overall images in which we find the same basic elements, displayed differently every

time. The impulse impression that art is supreme freedom is however an illusion. In the privacy of its

vast creative freedom, without subsidiary rigors or methods, without insistent study efforts or through

from search to discovery and assimilation of some expressions which can serve as a further base in the

differences in a personal sense, art cannot exist or impose itself as a rendering of an expressive

perfection.

For an artist, not just one accomplishment or another is a form ofexpression, but each of them includes

forms, which have contributed to the structuring of the overall forms. Any dot, stain, line, surface, void,

full, has a form that fits into the great form through which things are perceived. The attentive viewers give

themselves time to fathom these forms and find out that in this way they, the viewers, shape themselves

culturally. In so doing they add to the knowledge around themselves, as they transmit what they have

received and rediscover an increasing number of interpretations. Therefore, what has already been

mentioned is restated and every time the form of rendering is enriched with new hypostases.

To conclude, artistic forms also imply a comprehensive view, which can expand the analysis from

the independent, abstract mode of the structuring of form itself to the at least minimal interaction with

other fields of human life and knowledge. Resonance logic is present everywhere in the visual forms of

reality and in those which create the artistic aspects in time and space.

Acknowledgment

Figures 1 , 2 , 3 and 4 represent photos of artwork made by the author of this article: double-sided paintings and he modular ensemble Continuum , in different variants of bi-dimensional and tridimensional compositions.

References

  1. Read, H. (1971). Originile formei în artă [The origins of form in Art]. Bucharest: Univers Publishing House.

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About this article

Publication Date

18 December 2019

eBook ISBN

978-1-80296-014-3

Publisher

Future Academy

Volume

15

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Edition Number

1st Edition

Pages

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Subjects

Communication, communication studies, social interaction, moral purpose of education, social purpose of education

Cite this article as:

Dominte, G. M. (2019). The Diversity of the Visual Form. In A. Sandu, T. Ciulei, & A. Frunza (Eds.), Logos Universality Mentality Education Novelty, vol 15. European Proceedings of Social and Behavioural Sciences (pp. 305-310). Future Academy. https://doi.org/10.15405/epsbs.2016.09.39