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پدیدارشناسی فضا در چیدمان های نوری جیمز تورل | ||
| مبانی نظری هنرهای تجسمی | ||
| مقالات آماده انتشار، پذیرفته شده، انتشار آنلاین از تاریخ 17 مهر 1403 | ||
| نوع مقاله: مقاله پژوهشی | ||
| شناسه دیجیتال (DOI): 10.22051/jtpva.2024.46231.1561 | ||
| نویسنده | ||
| راضیه مختاری دهکردی* | ||
| گروه ارتباط تصویری، دانشکده هنر و علوم انسانی، دانشگاه شهرکرد، شهرکرد، ایران | ||
| چکیده | ||
| با افزایش آثار هنری در سالهای اخیر که به بررسی رابطه نور و فضا میپردازند، زبان زیباییشناختی و توجه به نور در هنر معاصر تغییر کرده است؛ بهطوریکه استفاده از نور به هنرمندان این دست از آثار در شیوههای مختلف هنری کمک کرده است که مرزهای هنر را دوباره بازآرایی و درعینحال بیننده را تحریک کند تا در مورد کیفیتها و محدودیتهای ادراک خویش تأمل کند. ازاینرو پژوهش حاضر بر آن است تا استفادههای هنری از نور در آثار چیدمانی هنرمند معاصر جیمز تورل را موردمطالعه قرار دهد و باهدف شناسایی ویژگیهای آثار چیدمانی جیمز تورل به این پرسش پاسخ دهد که چگونه تورل میتواند پتانسیلهای مختلف نور را در فضاسازی و درک انسان از جهان اثر را آشکار کند. روش جمعآوری اطلاعات این پژوهش بهصورت کتابخانهای و با اتخاذ روش کیفی و رویکردی پدیدارشناسانه ادراک صورت گرفته که ماهیتی توصیفی تحلیلی و هدفی بنیادی داشته است. نتایج پژوهش نشان داد که هسته مرکزی هنری تورل، حضور نور است؛ او با استفاده از نور در آثار هنریاش به دنبال این است که از مرزهای میدانهای ادراکی بیننده عبور کند. جستجوی بیننده آثار او با نور فیزیکی و فضای عینی آغاز میشود، اما در ادامه به یک مکاشفه درونی از طریق مراقبه و تمرکز میانجامد و هنرمند میکوشد ضمن کشف مرزهای میدان ادراکی برای مخاطب تجربهای معنوی برای او ایجاد کند. | ||
| کلیدواژهها | ||
| چیدمان نوری؛ پدیدارشناسی ادراک؛ فضا؛ ادراک حسی؛ جیمز تورل | ||
| عنوان مقاله [English] | ||
| Phenomenology of Space in James Turrell's Light installations | ||
| نویسندگان [English] | ||
| Razieh Mokhtari Dehkordi | ||
| Department of Visual Communication, Faculty of Arts and Humanities, Shahrekord University, Shahrekord, Iran | ||
| چکیده [English] | ||
| With the increasing number of artworks in recent years that explore the relationship between light and space, the aesthetic language and attention to light in contemporary art have changed. The use of light has helped artists in various artistic styles to redefine the boundaries of art and at the same time provoke viewers to reflect on the qualities and limitations of their perception. Therefore, this research aims to study the artistic uses of light in the installation art of the contemporary artist James Turrell, and by identifying the characteristics of James Turrell's installation works, to answer the question of how Turrell can reveal the various potentials of light in spatial design and human perception of the work. The method of collecting information in this research is library-based and has adopted a qualitative method and a phenomenological approach to perception, which has a descriptive-analytical nature and a fundamental goal. The results of the research showed that the central core of Turrell's art is the presence of light; he uses light in his artworks to seek to cross the boundaries of the viewer's perceptual fields. The viewer's search in his works begins with physical light and objective space, but continues to an inner revelation through meditation and concentration, and the artist tries to create a spiritual experience for the viewer while discovering the boundaries of the perceptual field. The present research employs phenomenology of perception, framed by Maurice Merleau-Ponty's framework. The population of this study is the installation art of James Turrell. Despite introducing some of Turrell's notable installations based on phenomenology of perception, two samples were selected using a non-probability sampling method. Merleau-Ponty's phenomenology of perception emphasizes the importance of body-subjects and the experiential dimension of life. This means that the body becomes a 'vessel' for experience, sensing its own physicality. Consequently, spatial designs only become meaningful when they are perceived and experienced. Light has been a fascinating and significant subject for artists throughout history. Leonardo da Vinci dedicated several volumes to the importance of light in nature. Romantic artists equated the sublime with light, while modern artists employed abstract forms to explain inner light. As we all know, art is a visual realm and has always been intertwined with the world of light. However, the use of natural or artificial light as a creative medium and a newer phenomenon is distinctly a product of the 20th century. The Italian-Argentine artist Lucio Fontana was one of the pioneering artists in creating art with light. His series titled "Spatial Environments," which began around 1949, is a prime example of this shift, featuring large-scale neon installations with ultraviolet light. Fontana's artworks are the result of a more experimental approach to art, one that utilizes new technologies to engage the viewer's imagination and emotions. Light has transformed from being a subject within a picture to an independent means for images, materials, and consequently a medium in itself (Weibel, Jansen, 2006:97). For over half a century, Turrell has worked directly with light and space to create artworks that engage viewers with the limitations and wonders of human perception. In Turrell's hands, light is more than a mere source of illumination. His installations elevate our experience and understanding of light and space. Throughout his career, Turrell has been deeply attentive to the fundamental relationship between light and space in visual perception. By saturating space with light and creating an ambient luminosity that dissolves spatial coordinates, artists like Turrell seek to heighten perceptual stimulation and foster an intangible relationship between the viewer and the work. Artistic applications of light transform the material identity of an artwork, imbuing it with an energetic character. In essence, light forms the core of Turrell's artistic thinking; both physical and conceptual, spiritual light. 'In Turrell's works, light is not so much a means of revealing things in the world, but rather reveals itself as something belonging to the world' (Sami Azar, 2012: 216). From his perspective, light both enables and hinders vision, especially when its intensity causes a kind of blindness, similar to staring at the sun and the subsequent temporary loss of sight. Through the medium of light, Turrell achieves the discovery of space. 'Light can both shape space and prevent vision; just as the Earth's atmosphere prevents us from seeing the stars in daylight, but as soon as night falls, seeing them becomes possible' (Adcock, 1990: 2). Turrell's fascination with the viewer's perception and their presence within his work is deeply rooted in his interest in the relationship between perception, light, and time. As a result, many of his pieces are best experienced over extended periods. His darkened spaces, in particular, make time a subject of the work. To the viewer, the installation initially appears completely black, but in reality, it contains a very subtle light that only becomes faintly perceptible after 10 or 15 minutes, as the viewer's eyes adjust to the darkness. In these darkened spaces, light occupies a realm between the visible and the invisible. Over time, the two become one, pushing at the boundaries of the light frequencies that the human eye can detect. Experiencing a darkened space is, in a sense, an experience of looking inward. James Turrell, by creating a specific immersive light environment where the viewer is submerged in a unique light space shaped by the light arrangement, perceives a deep sensory experience: Turrell's works are installations that focus on the dialectic of light, space, and the metaphysics of presence. Turrell's light art addresses issues related to feeling and perception, and focuses on ways in which everyday understandings of the world can be questioned and the features of human vision illuminated. Whether through exploring the effects of natural skylight or through the artificial light of indoor installations, his works, by priming the viewer's perception, make dramatic interventions in the usual experience of art. Turrell's artworks challenge our perceptual realm. The experience that arises when participating in Turrell's art, which contains light, whether in an indoor space with artificial light or outdoors with natural light, can be interpreted as indicating some of the possible ways to unload the viewer from their usual experiences of the world. In a place where countless artworks have historically been created about light and its effects, James Turrell's works are made of light itself, suddenly transformed into tangible, solid things. In Turrell's hands, light is more than a simple source of illumination: it is a distinct and physical entity that elevates the viewer's experience and perception of light and space. Turrell considers light to be his color and space his canvas, and the viewer his painting. Turrell, through his light art, attempts to create a spiritual experience for the viewer. He seeks the boundaries of our perceptual field, questioning what is real and what is not. The artist seeks to provide the viewer with a tangible experience of light and space. By incorporating these ideas into their artwork, Turrell transcends the purely visual aesthetic experience and creates a more meditative state. Therefore, it is not far-fetched to say that Turrell's installations are a revelation in the perception of light and a deepening of philosophical and spiritual contemplation on Earth and its connection to the galaxies: illumination, revelation, and thought. | ||
| کلیدواژهها [English] | ||
| Light Installation Art, Phenomenology of Perception, Space, Sensory Perception, James Turrell | ||
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آمار تعداد مشاهده مقاله: 91 |
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