Date

1975

Author

Erzen, Jale N.

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The essence of art lies in its being the manifestation, on an individual level, of the collective consciousness and the relationships between man and the environment. Thus, originality in art is dictated basically by the limitations of the individual catalyst, and real creativity lies in being able to let the dynamism of existence and of man/environment relations appear through one's expressions. Ultimately, an artist's aesthetic values and artistic claims depend upon what his definition.for this existential dynamism, in other words, for "reality' or 'truth' may be. The fact that, in spite of art-critics attempts at objectivity and empiricism, the most noteworthy documents of art are the often rhapsodic and esoteric art statements of artists themselves, prove that the process of creativity is rooted in the unknown psychological history of mankind, and that efforts at formulating its invariables objectively often end in esotericism. , for an artist to give a clear definition of his work, let alone a descriptive title, is the hardest thing to do. Yet, in spite of the prejudices it might cause, in order to guide apprehension I find it helpful to use the title Structural Expressionism in introducing my work. Although these two terms have represented contrary attitudes throughout the history of Western Civilization, quite in line with the aesthetic principles of the 20th Century, which are often based on the concept of complements and paradoxes, it is my claim that they are necessary complementaries in the actualization of my aesthetic philosophy. In my definition, an aesthetic application is the most efficient and intense stimulation of sensory faculties through the manipulation of proper stimuli, within the context of intended communication or clarification. In my work, the life forces, or movements of the multidimensional perceptual elements are organized into a hierarchic structure that will regulate the reading into specific patterns, and thus call attention to specific perceptual elements or phenonenae. The subject matter is the human figure, not only for the formal potentialities it supplies because of the richness of its form and its pictorial malleability, but essentially because of its subjective and symbolic character which has been used in art as a source of truly universal vocabulary. The human figure in its rich archetypal symbolism, and in its being the richest and clearest reflection of the mechanism of the existential process, is my key to the search for the personal expression of a universal aesthetic communication.

URI

http://jfa.arch.metu.edu.tr/archive/0258-5316/1975/cilt01/sayi_2/319-327.pdf
https://hdl.handle.net/11511/51343

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Department of Architecture, Article