Professional Skills & Career Path
Refining the ideas from unit 1, I figured out some important elements from the topics from human experience, nonverbal communication, relationship with space, and how it leads to nonverbal experiences. Summing up the key relationship between different references and theories, my research will further focus on the relationship on how painterliness stands in the position of language in the translation of human experiences.
I questioned myself again about my relationship with the landscape, which I have never admitted where are those from. Whereas, they are probably a metaphoric land for us, for whatever possible to happen. We spent time on and where it allows us to forget about time.
On the other hand, through exploring the vulnerability of language, the sense of metaphor and symbolism in poetry assisted us to surf in the blank space of imagination. Which is largely affected by the fragments from Sappho’s and Anne Carson's interpretation of poetry. This carried my research on exhibiting the relationship of human experience, and syntax from languages' response to the loss and loss in translation , leading to how the physicality of paint manifests the unseen to be experienced through reconnecting.
The element from poetry also provided me with a way of transferring human experience through the language of paint. I see the connection between the use of paint and concentrated feelings through Helen Frankanthelar’s works and words.
The nature of poetry embraces the sense of feeling before understanding the words literally. So as human nature, we feel before understanding, and somehow we call it intuition. It may come from different reasons, as a result, to bring us an instant feeling when we are immersed in an environment.
linear vision sharply distinguishes form from form, while the painterly eye on
the other hand aims at that movement which passes over the sum of things.
(Wölfflin, 1950)
Mentioned by Wölfflin in his book Principles of art history, 1950, he suggested the relationship between linear and painterly gestures of painting, whereas the painterly way of depiction focuses on the whole feelings, “the sum of things”. Different from a linear painting showing the clear portion of things and details, the painterly way of painting addresses the overall impression of general movement. Whereas the application of paint does not have the urge to display the physical appearance of things or construction of time and space, instead that is not entirely controlled, involving a large portion of understanding and demonstration through personal experience towards the thing or issue.
Whereas painterly mode values the mass of the whole picture, as a spectator, we go over the sum of the things to experience the combination of the whole. Which is constructed by every individual element like lights to shadow, depth inside spaces, and they all speak for their own, at the same time orchestrated with each other. The painterly way of depiction also leads me to the composition of a holistic experience without the specific description via the use of language to draw a linear description of objects. Whereas a painterly way suggests the feelings or a metaphorical experience to the audience that allows the audience to be involved with their own previous experiences.
For the fact that a painterly language does not require an instant understanding of what it provides and that allows time and space for the audience to find a unique path of understanding or to feel. There is no concrete element but the confident gestures as it describes how the painter uses body movement and paint as a language. I wonder how painterly language provides us with the urge of speaking for ourselves instead of describing how reality is situated in. Which is a combination of our previous experience and what we saw on the canvas. At this point, I realised that the characteristics of painterly language could carry on the similarity from poetry, that the ability to describe how we transfer the holistic feelings and experience to the audience to feel. And that is a two-end conversation.
"inhaling the world through his hands, stretching his fingers into a web to catch the imponderable."
(Focillon, 1936)