Interior and Spatial Design Contextual Studies - Essay Example

Interior and Spatial Design Contextual Studies and Introduction Fine art painting and interior design is an interesting field for two reasons. The first reason is the appraisal of beauty in fine art paintings. Secondly, the alignment to secrecy and mystery makes fine painting open to millions of interpretations. In this sense, abstract arts are said to be ‘ambiguous and open to interpretation (McCullough, 2010; 24).My love for fine arts is because I like creating ‘beauty’. Beauty helps in creation of ideal work environments. Due to the ever-increasing world population, demand for places where people can relax and have a time on their own has similarly increased. Generational change has also led to continuous shift in tastes. Spatial design comes in handy to sort these problems. For these reasons, this essay seeks to research and discuss the relationship between abstract painting and interior spatial design. Furthermore, the essay will include empirical studies of various artists and professionals in the field of fine arts and design. Discussion Through various reviews, I have learnt that painters and spatial designers are making immense contributions to the society. I have hence learnt that I will be in a position to create aesthetic appeal of homes. Through expertise in spatial art and interior design, I will be able to restore happiness and satisfaction to myself and the human race. Through appraisal of beauty, the field has enabled me to value specific objects in the society. I have also learnt the strategic use of interior design in drawing building plans taking into account interior spaces and probable rooming. In eventuality, they should award space appropriately to each section of a building. In my study of abstract paintings, I realized that they draw interests from everyone. On the contrary, I realized that a person who possesses a piece of an abstract painting could keep it for ages without having interpreted its meaning. Therefore, the value of such a work of art increases as time progresses in the sense that, it portrays not only its aesthetic value, but also the mysterious thought behind its conception. This misery behind the artistic works drew much interest from me, making me to relate commodities to their ideal values. Using an example of the value of money, I realized that everyone understands the importance of money and its value. However, people seem not to understand the real value of the money which is reflected by the purchasing potential as opposed to indicated numerical value indicated. In this respect, I have come to the conclusion that some abstract paintings exhibit immeasurable value yet people can hardly understand this. Interior spatial design relates to abstract perspective of art. The idea of space creation and the dimensions that a designer uses in creating the interior of buildings and rooms leaves a lot to the imagination of the owner. Interior spatial designing is not just a matter of decorating and room. Interior design requires a keen eye and emotional approach just like in abstract painting. That is why one when a professional interior designer works his magic in a room, a visitor or the owner could spend hours on in the given room. Of course, the beneficiaries of the designers work get to feel the emotional perspective of the designers work of art in the room. The idea is that every perspective of human life has an aspect of art in it and vice versa. It only takes a professional to unravel the mystery of the art in that point of view. Take, for instance, an ordinary porcelain plate. Majority of lay people could consider it in terms of a container that they use to serve or eat food from, but an artist could see the aesthetical value on it. The dimensions of the given plate could interest interior designers in that they could use it in given areas of the room that they are designing. This kind of mystery, aesthetic value, figurative and imaginative perspective is what motivates and interests me in abstract painting and interior spatial designing of rooms and buildings. Abstract painting, on the other hand, is only appreciable through keen observation, intellectual focus and emotional sensitivity. It requires ample cultural knowledge, psychological focus and artistic knowledge. The principle in abstract painting is that things can either be factual or real. When professionals observe paintings, they attempt to comprehend many factors. Texture, hue and other unseen perspectives could make one relate with the emotions of the subject painters. Nasgaar (2008) posited that in abstract painting, the artist takes a particular idea from reality, then distorts, intensifies and generalizes it. By use of different colors, shapes and strokes, the artist brings in the spiritual, emotional and other immaterial aspects that one could not directly interpret as it appears. With this knowledge, I have developed critical eye to artistic works, a prospect that I believe will enable me to learn the true contextual meanings of artistic impressions. Analyzing trends in the artistic work, I have realized that revolution has been a constant occurrence in this field (Nicholas, 1993). I learnt to appreciate the role of movements of various artists across Europe, promoting artistic and ideological transfer. In analyzing Constructivism, I noted that movements of artists were essential in its development. Interestingly, I realized that this technique which involved angular stationing of projection screens is still applicable to date in interior spatial design, for example in movie theatres. Further, I have been able to learn the exceptional relation between constructivism and Socialist Realism though the former is slowly fading away. Essentially, traditional abstract paintings by various artists in many parts of the world were meant to please the masses due to their aesthetic nature. However, by 1900, a new form of artistic approach had begun to flourish in Europe as well as Asia. Artists started to be more dynamic and adventurous in their work, due to a more flourished way of thinking. (Nicholas 1993). During the early years of the 20th century, Russian revolutionary artists, for example Naum Gabo, left Russia for other parts of Europe such as Munich and Paris where new styles of painting were being adopted. While in Munich, Naum met a fellow Russian artist, Wassily Kandinsky, with whom they attended a cubism exhibition. Cubism was adopted as a new style of painting then. It entailed use of geometric shapes such as circles, tapered triangles, and interlocking planes in making paintings. Equally, cubism was taking root in Paris. Here, Antoine Pevsner is quickly learning this style from artists such as Alexander Archipenko. Pevsner is later joined by Naum, his brother. El Lissitzky is also another revolutionary Russian artist who traveled to Germany and Brussels to learn architecture. Conclusion The period after 1919, marked a turning point in the art of Russia. At this time, most of its Artists were returning back home due to effects of World War 1. Most important though, it was the adoption of constructivism, a new artistic philosophy. This new way of art borrowed from the practices of Alexander Rodchenko. Artists such as Naum Gabo and Kazimir Malevich in their works pioneered it. Constructivism entailed use of abstract painting in mechanical mobile objects. The first exhibition of constructivism held in 1921indicated an angular style of work. Its use in interior design is evidenced in Vladimir Tatlin’s works, for example his proposal for theMonument to the Third International in 1919 (Nicholas 1993). He proposed use of internal searchlights and projection screens. Angular stationing of projection screens is still applicable to date in interior spatial design, for example in movie theatres. In 1934, Constructivism was adopted by Socialist Realism. However, the fundamentals of constructivism in abstract art continue to nourish the architectural and other design practices of today. I draw my interest in abstract painting from various artists such as Gerhard Richter. The artist used his paintings to show how images that people see every day could be farfetched from the reality. The pictures, photographs, paintings and images that people view everyday do not elicit the meaning that people could imagine. In particular, his abstract painting Abstract painting (809-3) 1994 was highly motivational in my aspirations to study abstract painting. This particular work contained immense aspects of misery, making it quite difficult to interpret. Through analysis, it is evident that Richters main works included borrowing images from newspapers and his family album and projecting them on canvas, giving the images a life of their own. In this way, he reduced the images from what they were to abstraction (Mehring et al. 2010). Through this and his other diligently articulated artworks, I learn to embrace reality in my artistic life. If this work of Gerhard was to be used in interior designing, it would create a lot of misery within the room. Many visitors would be left mesmerized by its real meaning. It brings in a new dimension to painting, the aspect of ‘more than just decoration and beauty’. The work indicates the need for emotional attachment to interior designing. Further, Richter believed that art is involved in every component of humanity. This belief inspires me, creating my commitment to creating happiness in all spheres of life. Due to the complexity involved in art, only professionals are able to unveil the truths behind such miseries. To this end, a critical analytical approach advocated for in Ritcher’s works is essential in my life as an artist. This kind of mystery, aesthetic value, figurative and imaginative perspectives portrayed in the abstract art is what motivates and interests me in abstract painting and interior spatial designing of rooms and buildings. Richter’s particular painting of Ema in 1966, showing a nude woman in a staircase exhibits his uttermost confidence in his actions, a confidence to defy public orders in revealing the truth. Secondly, I must acknowledge Will Alsop as my role model in abstract architectural designs. His innovativeness, critical and creative designs attest to his achievements. I adore him by the fact that his architectural designs defy the surrounding environment by not following the standard models that most buildings have. Like Richter, some of Alsop’s abstract paintings were quite difficult to interpret. For instance, I have taken quite a long time trying to interpret the true meaning of the painting below. Further, I love the incredibly controversial ways in which Alsop works his designs. Alsop starts his designs in form of painting after-which he determines whether one could transform the image into a building (Dunn, 2007). Besides, his tendency to consult with the local community throughout his artistic career is commendable. It is rare to find such consultative artists. In my career, I would like to imitate this consultative aspect of his. In similar light, I have always believed that the community needs to be involved in my paintings and designs. In concurrence with Alsop, art should promote exploration and discovery, a prospect that is lacking in modern architecture. There is little focus on probable future. At some point, Alsop and Gerhard Richter hit the same note in that, some of the Alsops designs are foods of thought to the masses as they arouse Imagination. His building designs are not only functional in terms of offering accommodation, but also, his buildings are designed with abstract perspectives that have stories to tell. In this sense, it is evident that the above highlighted work of his is telling a story which only Alsop or professional painter can interpret. The above painting looks rather "ugly" in "beautiful" way making it quite difficult to understand. My appreciation and attraction to his highlighted work is informed by both its beauty and hidden contextual meaning. Throughout my studies in art and design, I have developed additional skills that the courses I undertook, did not teach me. Some of these skills such as developing a critical "eye" on the unseen art around humanity have driven me to come up with unconventional ways of interior design. Nevertheless, with the use of available standard materials around, I have been able to create various pieces of art that could stand out in any given room. In this respect, I could give almost all the credit to Vladimir Tatlin for his contributions towards constructivism. He left the then traditional pictorial artistry for more unconventional use of materials such as metal, glass and wood. Mostly, his works exhibit the diversion from the conventional use of art to other uses that are more practical. With some of his ideas, I have been able to observe that art is not a process and therefore should not be at the confines of particular materials for design. Pellizzi (2013) posited that Tatlin did not believe in the aesthetic value of art, but on practicability of the art. It means that his works were revolutionary in that he tried to bring them out from the drawing board into realistic and palpable works that could have been of service to humanity. What motivates me in design is that as an artist, I could gain recognition by using unconventional methods to develop works art. That is how Tatlin transformed into a respected architect and as such, his works are still influential in the current world. He revolutionized art in a way that saw the incorporation of common materials and objects that people used every day. It was an idea that was beyond the confines of traditional art. He believed that art was not about conventional or unconventional designs, but rather a way of life. When I compare Tatlins work to that of Richter, they both hold that the reality of particular abstract images should not have their basis on the “face value”. They further hold that the images should induce emotional expressions that the picture intends to portray. I have always epitomized El Lissitzky works. His artistic transformation of political arena remains admirable. Even with the theoretical and abstraction form of his works, Lissitzky’s art was still functional in terms of addressing the issues on politics in the Soviet Union at that time. El Lissitzky always inspires me since he has a way of using unconventional ways of art to portray his strong political sentiments. Unlike other artists at the time who used their work of art for aesthetic functions. (Spencer 2004). Lissitzky saw his works as a mode of covert communication to the masses and the state. Faithful to his works, he challenged the traditional form of art by introducing the three-dimension space imagery, which he combined with architecture, a sample of which is highlighted below. To me his new approach to art was and is still motivational. Just like Tatlin, Lissizky was of the belief that art did not have to be abstract, but that it could interface with life. I concur with him in that, every work which an artist creates, should be of open and beneficial to the masses. Lissizky’s works spoke volumes to the masses. He was instrumental on development of graphic productions and even architectural designs of buildings that communicated strong sentiments towards the change of the political arena in Russia at his time. His concepts brought on the idea that architecture was not only an art of creating things for "beauty" purposes, but also as a form of communication to the masses through designing of objects. My inspiration on abstract painting and interior spatial design has its basis in Lissizkys idea that the future of art has its foundation on its ability to collaborate with other disciplines. Some of these disciplines are such as architecture, drawing, and so forth. Indeed, I would like to follow into the footsteps of the Lissizky. In line with Camillo Sitte’s ideologies, Lissizky’s ideological basis is used in modern architectural work to promote accuracy in construction works. Camillo’s theory essentially talks about space. In his theoretical concepts, he looks much more into the quality of spaces on which designed buildings stand. Essentially this theory intends to improve utilization of space, while at the same time not compromising the quality of buildings. In early days, critiques discredited Camillo’s concept arguing that it was a way of discrediting the work of designers. Surprisingly, Camillo’s ideas hold a lot of significance in modern architecture. Therefore, I believe that space is an important aspect in design. It allows the artists make their work capture their true feelings or opinions on the goings on in their society. Over the years, technology continues to improve, most notably since experiencing the first industrial revolution in 1760. Since then, art and design has embraced computer-powered technology. However, of more significance to artists, is the urge to capture the change in feelings of the people after the start of the industrial revolution. Subsequently, I believe that some of the ideas in my possession shall be evolutionary in interior design. I recognize the fact that times are changing and so are the designs. What abstract paintings mean now, they will not necessarily hold same meaning in the future. As a result, I have to swim fast in the evolutionary art tide. With technology in place, it has become easier to design new and unconventional designs, whether architecturally or in craft. I cannot compare to modern art to the ancient design when everything was manual and hand created. Originality currently is wanting and that is why I have to refresh myself by reading the works of ancient artists repeatedly. I usually do this not only to get the feel of “hands-on” approach to art, but also to learn how to acquire that critical eye for originality and creativeness. It is in this respect that Mitchell (2007) postulated that paintings are one of the principal modes of preservation of the origin of art. References: Dunn, N., 2007. The ecology of the architectural mode, P. Lang, Oxford. Mehring, C., Jeanne, A. N., Gerhard, R. and Jon, L. S., 2010. Gerhard Richter: early work, pp.1951-1972. Mitchell, T., 2007, What do pictures want? The lives and loves of images. University of ChicagoPress, Chicago. McCullough, S., 2010.Evidence-based design for healthcare facilities, Sigma Theta TauInternational, Indianapolis. Nasgaard, R., 2008. Abstract painting in Canada, Douglas &MacIntyre Art Gallery of NovaScotia, Vancouver. Pellizzi, F., 2013. Res Anthropology and Aesthetics: Spring/Autumn 2013: Wet/Dry, PeabodyMuseum of Archaeology, New york. Spencer, H., 2004, Pioneers of modern typography, MIT Press, Cambridge. Webber, N. F., 1993.Dynamic Aesthetic of a Revolutionary Era. In: Art: Russian Constructivism. s.l.:s.n., pp. 162-183. Read More