The goal of this study is to criticize the ocularcentrism that has dominated perceptions of modern painting and to seek new methodologies in painting through which tactility reactivates visuality by focusing on the potential of tactility, while examin...
The goal of this study is to criticize the ocularcentrism that has dominated perceptions of modern painting and to seek new methodologies in painting through which tactility reactivates visuality by focusing on the potential of tactility, while examining the variability of subjects suggested in this thesis.
Haptic visuality is the keyword for my that is used for examining the subject and seeking ways to combine visuality and tactility in painting. This thesis intended to adopt this term haptic visuality and its methodology to my own artworks in order to verify its possibilities. Ultimately, I discussed how the fusion of sensations in expression attain meaning in painting and how this experiment will influence the position of subject in conventional painting.
Visuality has been acknowledged as the most valuable sense used in approaching and understanding things objectively, and it has kept its privileged status throughout the modern era and until now. As Descartes worked on the desomatization of visuality, this belief towards the superiority of visuality played an important role in separating the body and mind, subject and object, and therefore reinforced a dualistic world view. However, as criticism towards ocularcentrism emerged in the late 20th century, tactility was brought into focus as an alternative sense, emphasizing a holistic perception through the medium of the body.
In philosophy, Maurice Merleau-Ponty accepted tactility as principal bodily subjectivity in post-phenomenology. Based on the idea of chair and le chiasme, he suggested a new relationship between subject and object by theorizing the ontology of a fusion of the senses. Luce Irigaray related tactility to the maternity-femininity that has been ignored in conventional philosophy, stressing its role as a sense that mediates within the established dualism.
In painting, craft skills and materials came in as a way to emphasize the bodily experience and materiality, which in emphasizing tactility, broke the hierarchy between genres. Bodies were used as tool or materials to bring tactility into focus and to challenge the hierarchy of senses.
Through re-examining the critical thinking on the ideal of visuality and the philosophical and historical phenomena implied in tactility, I called for the necessity of the fusion of tactility and visuality. Haptic visuality can be the alternative term. Haptic vision is different from the optical method that is based on fixed relationships between a subject and object. It is an overall sense that understands things through slow repetitive observation. In this process of observation, the gaze and the surface are amalgamated, keep changing their focus, translate the surface into skin and body, and provoke erotic and fearful emotions. Therefore, the inter-being sense that facilitates understanding relationships with others comes into reality. In this regard, tactility could reactivate visuality in which the strength of tactility lies.
This thesis converts the understanding of haptic visuality into a painterly method through notions of surface as flesh and transformation of body. I will look at examples of artworks by others to see how they used these ideas to seek new possibilities of expression in painting and compare them with my own artworks. Below is a summary of the process of this study.
First, to study surface as flesh and transformation of body, I selected Yayoi Kusama (1929~) and Ellen Gallagher (1965~) as examples. I reviewed the Matrixial Gaze theory of Bracha Lichtenberg Ettinger that emphasized the coexistence of subject and object and used this theory as a tool of interpretation, analyzing their artworks in relation to haptic visuality. These two artists created matrixial space in their works using net/web and made it possible for subjects and others to intersect. Surface for Kusama is a place to remove and discover herself at the same time while, for Gallagher, it is a place where transformation happens. I stressed that these methodologies can be suggested as a possible way to embody haptic visuality in painting and discussed in relation the idea of inter-being.
Additionally, to analyze haptic visual expressions and visual languages in my own artworks, the formality of the artworks has been dealt with in terms of various aspects, and each aspect was analyzed separately by types based on their emphasis. In this analysis, I examined the haptic information that implies not only skin and body, but also exposes disparate, wounded signifiers on the surface. The information included visual factors, contrast and fusion, vibrations between multi-layers of flesh, and transposition/cross/infiltration between perception and meaning that evoke uncanniness and illusion. Each of these aspects was studied in terms of how they organically relate and create haptic visual effects together. The study of each factor included visual languages such as juxtaposition, transposition, transformation of body, and expansion of surface. Lastly, I compared these example artworks to my own artworks, to verify how surface as flesh and transformation of body in my own artworks emphasize a sensorial flow and rhythm by means of exposing the flexibility of form and instigating an active visual vibration.
In conclusion, I argued that by focusing on the methods that realize the fusion of senses by employing haptic visuality through forms of expression — such as the introduction of haptic shapes and transformation, emphasis on flesh-surface, a subversion of visual metonymy, and expansion to surfaces—I intended to argue that invisible and undefinable things obscured by ocularcentrism can be expressed in painterly means. The fusion of sensorial expression becomes a cornerstone in which interactions occur — between haptic visual subjects and artworks and between artworks and viewers. As a result, the boundary of subject will keep changing and expanding, generating new boundaries.
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