The two disciplines rely heavily on human proportions, mathematics and geometry to shape the protective layers in which we shelter ourselves. As written by Bradley Quinn in The Fashion of Architecture, “Fashion has not always been so distinct from architecture. In the long journey of human existence, clothing first provided the body with wearable shelter, which architecture manifesting as a framework to support the animal hides and panels of fabric that became roofs and walls.”(2003, p. 2) Quinn writes that both fashion designers and architects build spaces around the human form for the function of protection and decoration. The clothing we wear is reflective of architecture we shelter ourselves in. Fashion and Architecture have drawn inspiration from each other throughout the ages.
The artwork of Chiho Aoshima follows the Superflat movement, meaning the drawing looks two-dimensional and…flat. Takashi Murakami is believed to be the founder of this art movement. She follows this movement very well, and her color choices help her as well. Her color palette is bright, but has earthy tones as well, indicative of Japanese Contemporary art. Her paintings are usually landscapes that have an overall smooth-looking texture.
The physical realization of philosophies and ideas are usually manifested in the various forms of self-expression of the human psyche. Art, poetry, film, literature, music, architecture even science and engineering are all creations and demonstrations of people’s capabilities of creating the tangible scheme of their dreams, beliefs and aspirations. Zaha Hadid is one of today’s most notable figures in architecture. Her bold and avant-garde designs reflect her innermost rebellious nature. Her buildings have redefined the limitations and extensions of architecture.
Artists from the west also paint more shades and have the possibility to mix colours and to create a blurry type of painting. Whereas, with Japanese prints, they use ink mostly primary colours, and create a more detailed artwork with outlines and less shade. The Colours in both art, are also used differently, in Impressionism for example, painters used a lot of colours, especially vibrant colours. Japanese artists used less colour and even used a lot of black and white in their prints instead of applying a lot of different colours. Western art in general, were really paying attention to their use of colour, whereas in countries such as Japan and China, black ink to do calligraphy was considered high art.
However, Segal limits mobility around the sculpture and uses stiff drapery to obscure the form and extenuate its slouch and nudity. Segal’s representation of drapery is far more static in comparison to Martin Luther King, Jr.; it closes in on her body, as if fuses with her skin. This forces the viewer to examine her body and expression rather than focusing on elaborately detailed drapery. However, detailed drapery adds to Ana Koh-Varilla and Jeffery Varilla’s piece because it develops a sense of wonderment that idealizes the figure. Each sculpture makes the most out of their medium, as well.
Cubism created a dialogue between artists and writers and led to many powerful collaborations such as poets and writers defending painting and other spatial art forms in their roles as art critics. For example such collaborating elevated art form when poets and artists such as Picasso and Max Jacob or Juan Gris and Apollinaire worked together to create something beautiful, and when poets and artists borrowed techniques from each other’s mediums to create more fluidity and uniqueness in their own pieces. Both writers and artists were able to gain new functions in their pieces through each other. Words now became commonplace in the visual artists’ domain and writers were also able to learn from artists and forged new types of literature. This new kind of literature shifted personal pronouns, destroyed syntax, fragmented space and attention to formal structure, and was often written from multiple perspectives, just as Cubist art was meant to do.
In addition to evolutions in my concept, my research has also aided my conceptualisation of fictocriticism and the place of both narrative and analysis in my work. Since establishing the concepts of harmony, balance and transcendence as the primary focus of my Major Work, I have decided to utilise the creative parts of my essay to provide a more artistic representation of these philosophical values. A major influence on my experimentation with the fictocritical form is John Hughes’ exploration of the works and impact of other artists in his collection Someone Else: Fictional Essays. In one particular essay he reversed the subject and object of art, describing the still life painter Giorgio Morandi as the containers in his painting, and the inanimate objects as the artist. In this essay, it was Morandi who “had not moved in over fifty years”, forever preserved on a canvas through a process that was “a slow one, involuntary to begin, and more like a fading of the light than a shutting down”.
Using the artwork of other artists developed as an habitual practice significantly through much of art history: painters, for example, have frequently repainted the artworks of others to be able to investigate the function of their own style to an acquainted composition and topic. Sturtevant, conversely, lifted the appropriation technique to a new level. Just to paint an exact duplicate of another artist’s work and declaring it as one’s personal artwork, whilst responsively admitting that it is an imitation, carries an evident type of inquiry to the notion of authorship that had certainly not beforehand been presented. Also when Marcel Duchamp took ready-made objects into the gallery space and Andy Warhol appropriated from common and mass culture, they made the choice to choose to handle those items as art. But Sturtevant disdains completely this kind of evaluation: the resolve of what is commendable to be evaluated as art is made by the colleagues whose artwork she duplicates, and certainly not by Sturtevant
The artwork is comprised of mostly geometric shapes which appears rigid and structured. The lines used in the foreground are vertical and as result it shows power and strength but also shows perspective. The lines are also very cluttered which creates rhythm and pattern. In the background, the shapes are organic and the lines are horizontal which appears spacious and balanced. Form is created by the use of value creating a more realistic, life-like painting.
INTRODUCTION 1.1 GENERAL The concept of kinetic architecture and related discoveries goes back to initial human civilization. One of the examples would be Yurts with opening and closing elements. Transformable buildings such as movable bridges design methods were studied first by Leonardo Davinchi. He used the bird’s wings to flight tools and for first movable roof. Through his works he portrayed how nature can be one of the best teacher in human inventions and creations.