The Formation of the Aesthetic Composition According to Deleuze`s Idea With Emphasis on Diagram (Case Study: “ Untitled” by Shariar Ahmadi)

Document Type : Original Article

Author

Assistant professor, Art Studies Department, Art Faculty, Semnan University,Semnan, Iran.

Abstract

 
According to Deleuze` ideas, there are several types of compositions or arrangements: material composition, which is a function of the artist’s perceptual product or his/her sentiments. Technical composition, which renders the perception of the artist subject to scientific discoveries, such as perspective rules or mathematical rules, like the golden proposition and the Fibonacci sequence, or ultimately disorder in fractal order. Aesthetic composition is formed from the sensitivity to different forces on the surface. The forces of colors and shapes puts the painter in a variety of ways. Each color and form expresses a degree of force. Once the criteria or rules for creating visual works become unimportant. The dissonance and chaos may occur at the surface of the work, which is the most important factor in organizing this composition. The diagram, in an instant, relates both the contractionary and expansive moments between chaos and the order of composition in the way. Contraction is a sequential movement that, like the point of imbalance or collapse, tends to return everything to the matter, mass, or material structure indicating the fragmentation of each piece, the patch of color, the color strokes. Expansion bonds between horizontal and vertical surfaces; in addition to conveying and expanding, it merges them in depth. In addition, the diagram induces a process that continually organizes a set of relationships based on the sensitivity of the forces. They shatter and disintegrate, squeeze one another, rescuing themselves from the chaos of indeterminacy, while still remaining self-contained. The diagram moves between disorder and order of composition. The emergence of the diagram is as necessary as possible, which resembles throwing of  a dice by chance while sitting on the surface with emergence of a number  and allowing the artist to move forward based on it. The Method of this Research is analytical-critical according to Gilles Deleuze`s thought. To clarify some contents the author has criticized an Iranian contemporary artist’s work, Shahryar Ahmadi who creates many paintings by deforming the forms and shows that artistic work as a field of  forces.
The result of the analysis of Shariar Ahmadi`s painting based on Deleuze’s ideas shows that the artist has gone through material and technical composition using the force of forms, colors, and virtual aspects of classic images, concepts, subject maters like ascension of muhammad. The action of contradiction and expansion in complementary colors of red and green, orange and red and the yellow variation of the color along with the black color flows, creates close-knit, yet stressful relationships. The diagram is the condition of  formation of aesthetic composition. Relying on diagrams, necessary contingency and chances, the artist goes beyond the visual rules of the organization and creates a composition in which the eyes is ocuppied with the surplus puissance.  
The study question is asking from the conditions for the formation of aesthetic composition from the heart of the artistic material with the description of the different levels of composition in Deleuze’s books: “Francis Bacon: Logic of Sensation ” and “What is Philosophy?”. In the next step, the purpose of this paper is to evaluate and critique the work of Shahriar Ahmadi, using the analytical-critical approach, with regard to the steps that have been taken from Deleuze’s discussions. The analysis of the aforementioned process in Shahriar Ahmadi`s work “untitled” and it`s  criticism reveals that many moments  of creation of aesthetic composition  such as overcoming the artist`s style and conventional understanding of Iranian classical art and abandoning from archives and mental images are left behind. The result show that the diagram  does not act locally and it encompasses the entire surface of the work. However, this work provides the grounds for proposing a new “rule” and thinking about the semantic dimensions of the concept of  human in the contemporary situation.
 
 

Keywords

References

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Painting Graphic Research
Volume 2, Issue 3 - Serial Number 3
February 2020
Pages 53-67

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