Repetition and difference in nature: reinterpreting plants pattern mechanism structure through installation art
<p>This research project investigated the aesthetics of plants patterning formation through</p><p>the exploration of design elements and principles based on the concept of repetition</p><p>and difference (similarity and variation)...
Saved in:
| Main Author: | |
|---|---|
| Format: | thesis |
| Language: | eng |
| Published: |
2022
|
| Subjects: | |
| Online Access: | https://ir.upsi.edu.my/detailsg.php?det=9745 |
| Tags: |
Add Tag
No Tags, Be the first to tag this record!
|
| id |
oai:ir.upsi.edu.my:9745 |
|---|---|
| record_format |
uketd_dc |
| institution |
Universiti Pendidikan Sultan Idris |
| collection |
UPSI Digital Repository |
| language |
eng |
| topic |
N Fine Arts |
| spellingShingle |
N Fine Arts Chin, Anna Chui Han Repetition and difference in nature: reinterpreting plants pattern mechanism structure through installation art |
| description |
<p>This research project investigated the aesthetics of plants patterning formation through</p><p>the exploration of design elements and principles based on the concept of repetition</p><p>and difference (similarity and variation). The research project aimed to explore the</p><p>concept of repetition and difference within the context of natural plants organic</p><p>patterning mechanism and to reinterprets the phenomenon of repetition and difference</p><p>as agents in unifying the element order and chaos within the plants' organic patterning</p><p>system, creating a balanced and harmoniousformation. The key elements in the</p><p>research project consist of organic motifs of magnification, the proportional ratio of</p><p>Fibonacci, colour harmonies, rhythmic organisations and the illusions of depth. The key</p><p>artists involved in this research are Yayoi Kusama, GiuliaRicci, Richard Anuazkiewicz,</p><p>Andy Goldsworthy, Claude Monet, Georges Seurat, Sol LeWitt, Richard Deacon,</p><p>Peter Barnitz, Albert Yonathan Setyawan, and James Turrell. The reference artworks</p><p>evoke and reemphasise the importance of repetition and variation as conceptual</p><p>principles that secure the overall balance and rhythm of design compositions and</p><p>generate a visual impact of illusory and infinite-dimensional depths, as well as a sense</p><p>of continuity. The concept of Repetition and Difference by Deleuze, Ball and</p><p>Balmond, and the Colour Theory by Itten were used to contextualise the research</p><p>project. A Studio Practice Method was used through critical self-reflection, studio</p><p>experimentation, and contextual review approaches. The research project is</p><p>contributing to the field of Fine Art and other art and design industry by establishing</p><p>the collective issues and ideas with various installation approaches and technical</p><p>features in art productions demonstrating creativity on the aspects of the</p><p>interrelationship between repetition and difference generating harmony and unity</p><p>within the complexity of plants' organic patterning formation. Furthermore, this</p><p>research project would inspire new perceptions of the interactivity between repetition</p><p>and difference as patterning agents applicable in many aspects of constructing forms</p><p>and structures in understanding the greatness and uniqueness of nature.</p> |
| format |
thesis |
| qualification_name |
|
| qualification_level |
Master's degree |
| author |
Chin, Anna Chui Han |
| author_facet |
Chin, Anna Chui Han |
| author_sort |
Chin, Anna Chui Han |
| title |
Repetition and difference in nature: reinterpreting plants pattern mechanism structure through installation art |
| title_short |
Repetition and difference in nature: reinterpreting plants pattern mechanism structure through installation art |
| title_full |
Repetition and difference in nature: reinterpreting plants pattern mechanism structure through installation art |
| title_fullStr |
Repetition and difference in nature: reinterpreting plants pattern mechanism structure through installation art |
| title_full_unstemmed |
Repetition and difference in nature: reinterpreting plants pattern mechanism structure through installation art |
| title_sort |
repetition and difference in nature: reinterpreting plants pattern mechanism structure through installation art |
| granting_institution |
Universiti Pendidikan Sultan Idris |
| granting_department |
Fakulti Seni, Komputeran dan Industri Kreatif |
| publishDate |
2022 |
| url |
https://ir.upsi.edu.my/detailsg.php?det=9745 |
| _version_ |
1794025737707061248 |
| spelling |
oai:ir.upsi.edu.my:97452023-12-06 Repetition and difference in nature: reinterpreting plants pattern mechanism structure through installation art 2022 Chin, Anna Chui Han N Fine Arts <p>This research project investigated the aesthetics of plants patterning formation through</p><p>the exploration of design elements and principles based on the concept of repetition</p><p>and difference (similarity and variation). The research project aimed to explore the</p><p>concept of repetition and difference within the context of natural plants organic</p><p>patterning mechanism and to reinterprets the phenomenon of repetition and difference</p><p>as agents in unifying the element order and chaos within the plants' organic patterning</p><p>system, creating a balanced and harmoniousformation. The key elements in the</p><p>research project consist of organic motifs of magnification, the proportional ratio of</p><p>Fibonacci, colour harmonies, rhythmic organisations and the illusions of depth. The key</p><p>artists involved in this research are Yayoi Kusama, GiuliaRicci, Richard Anuazkiewicz,</p><p>Andy Goldsworthy, Claude Monet, Georges Seurat, Sol LeWitt, Richard Deacon,</p><p>Peter Barnitz, Albert Yonathan Setyawan, and James Turrell. The reference artworks</p><p>evoke and reemphasise the importance of repetition and variation as conceptual</p><p>principles that secure the overall balance and rhythm of design compositions and</p><p>generate a visual impact of illusory and infinite-dimensional depths, as well as a sense</p><p>of continuity. The concept of Repetition and Difference by Deleuze, Ball and</p><p>Balmond, and the Colour Theory by Itten were used to contextualise the research</p><p>project. A Studio Practice Method was used through critical self-reflection, studio</p><p>experimentation, and contextual review approaches. The research project is</p><p>contributing to the field of Fine Art and other art and design industry by establishing</p><p>the collective issues and ideas with various installation approaches and technical</p><p>features in art productions demonstrating creativity on the aspects of the</p><p>interrelationship between repetition and difference generating harmony and unity</p><p>within the complexity of plants' organic patterning formation. Furthermore, this</p><p>research project would inspire new perceptions of the interactivity between repetition</p><p>and difference as patterning agents applicable in many aspects of constructing forms</p><p>and structures in understanding the greatness and uniqueness of nature.</p> 2022 thesis https://ir.upsi.edu.my/detailsg.php?det=9745 https://ir.upsi.edu.my/detailsg.php?det=9745 text eng closedAccess Masters Universiti Pendidikan Sultan Idris Fakulti Seni, Komputeran dan Industri Kreatif <p>Ball, P. (2008). Natures Patterns: Shapes. New York: Oxford University Press Inc.</p><p>Ball, P. (2009). Natures Patterns: Branches. New York: Oxford University Press Inc.</p><p>Ball, P. (2009). Natures Patterns: Flow. New York: Oxford University Press Inc.</p><p>Balmond, C. (2007). Element. New York: Prestel Publishing Ltd.</p><p>Barkley, G. (2012). Zoom: The shape-shifting painting of Helen Eager. Art & Australia, Issue 49 No. 3. p. 406-408.</p><p>Barniz, P. (2011). Repetition and the power of Simplicity. University of New Orleans Theses and Dissertations. Paper 1300. Retrieved from: http://Scholarworks.uno.edu/td.</p><p>Barrett, T. (2011). Making Art: Form & Meaning. New York: McGraw-Hill.</p><p>Bell, A. D. (2008). Plant Form, An Illustrated Guide to Flowering Plant Morphology. London: Timber Press.</p><p>Borgdorff, H. (2010). The Production of Knowledge in Artistic Research. The Routledge Companion to Research in the Arts, 44 -63. Retrieved from: https://www.researchcatalogue.net/profile/downloadmedia?work=129647&file= 129651.</p><p>Bowes, B. G., & Mauseth, James D. (2008). Plant Structure A Colour Guide. New York:Manson Publishing.</p><p>Callos, J. D., & Medford, J. I. (1994), Organ position and Pattern Formation in the ShootApex. The Plant Journal, 6(1), 1-7.</p><p>Cavazos, L. (2014). Andy Goldsworthy. Retrieved from:https://mslckitty.wordpress.com/2014/02/02/andy-goldsworthy/</p><p>Chevreul, M. E. (1860). The Principles of Harmony and Contrasts, and their applicationsto the Arts (3rd ed.). London: Bell and Daldy.</p><p>Coldwell, P. (2010). Printmaking a Contemporary Perspective. London: Black Dog Publishing Limited.</p><p>Collins, J. (2007). Sculpture Today. New York: Phaidon Press. Inc.</p><p>Coldwell, P. (2010). Print Making Contemporary Perspective. London: Black Dog Publishing Limited.</p><p>Cook, T. A. (1979). The Curves of Life. New York: Dover Publications Inc.</p><p>Cronk, Q. C. B. (2009). The Molecular Organography of Plants. Oxford: Oxford University Press.</p><p>Deleuze, G. (1994). Difference and Repetition. Trans. by Patton, P. London: AthlonePress.</p><p>Donovan, M., Fiske, T., Kemp, M., & Beardsley, J. (2010). The Andy GoldsworthyProject. London: Thames and Hudson.</p><p>Droste, M. (2002). Bauhaus 1919 -1933. Cologne: Taschen GmbH.</p><p>Encyclopedia of World Biography (2004), M. C. Escher, The Gale Group Inc.Retrievedfrom: http://www.encyclopedia.com/</p><p>Escher, M. C. (1992). M. C. Escher The Graphic Work, Introduced and Explained by theartist. Kln: Evergreen.</p><p>Feisner, E. A. (2000) Colour. London: Laurence King Publishing Ltd.</p><p>Friedman, T. & Goldsworthy, A. (1993). Andy Goldsworthy a Collaboration with Nature. New York: Harry N. Abrams Inc. Publishers.</p><p>Garoian, C. (2006). Art Practice as Research: Inquiry in the Visual Arts by Graeme Sullivan. ResearchGate. Retrieved from: https://www.researchgate.net/publication/260343661</p><p>Gill, M. (2000). Color Harmony Jewels. Massachusetts: Rockport Publishers.</p><p>Gentlein, M., & Howard, A. (2016). Art Visionaries. London: Laurence King PublishingLtd.</p><p>Gestalten (2015). Liquid Spaces. Berlin: Gestalten.</p><p>Goldsworthy, A. (1990). A Collaboration with Nature. New York: Harry N. Abrams Inc. Publishers</p><p>Haeckel, E. (2008). Art Forms in Nature. Munich: Prestel.</p><p>Herbert, L. (2013). The Color Inside. Landmarks, College of Fine Arts, The University of Texas at Austin., Retrieved from: https://landmarks.utexas.edu/artwork/color- inside</p><p>Holzwarth, H. W. (2003). 100 Contemporary Artists. New York: Taschen.</p><p>Hopper, A. (2010). Contemporary Art under Construction. Spiralzoom. Retrieved from:http://www.spiralzoom.com/index.html</p><p>Hoptman, L., Tatehata, A. & Kultermann, U. (2003). Yayoi Kusama. London: PaidonPress Limited.</p><p>Hughes, A. D., & Morris, H. V. (2008). The PrintMaking Bible. San Francisco: ChronicleBooks LLC.</p><p>Interaction Design Foundation. (2002). Retrieved from: https://www.interaction- design.org/literature/topics/color-theory</p><p>Itten, J. (1970). The Element of Color. London: Chapman & Hall. Jarray, T. (2011). Giulia Ricci. The Art Section. Retrieved from: http://zoola nder52.tripod.com/theartsection5.9/id37.html</p><p>Khabanyane. K. E., Maimane. J. R. & Ramabenyane. M. J. (2014). A Critical Reflection on Transformative learning as Experienced by Student-Teachers during School- Based Learning. Mediterranean Journal of Social Sciences, 5(27), 452 459.</p><p>Kimmelman, M. (2007). Sol LeWitt, Master of Conceptualism, Dies at 78. The New YorkTimes. Retrieved from: http://www.nytimes.com/2007/04/09/arts/design/09lewitt.html?mcubz=3#addenda</p><p>King, S., Beck, F., & Luttge, U. (June, 2004). On the mystery of the golden angle in phyllotaxis. Plant, Cell and Environment 27, 685-695.</p><p>Li, A.H. (2016). Contemporary Installation Art (ARTPOWER). Artpower International Publishing Co., Ltd.</p><p>Liesbrock, H. (2005). Sol Lewill Wall Drawing 1176, Seven Basic Colors and All Their Combinations in a Square within a Square for Josef Albers. Dsseldorf: Richer Verlag.</p><p>Lidwell, W., Holden, K., & Butler, J. (2003). Universal Principles of Design. Massachusetts: Rockport Publishers Inc.</p><p>Livio, M. (2002). The Golden Ratio: The Story of Phi, the World's Most Astonishing Number. New York: Broadway Books.</p><p>MacDermott, M. (2005). Repetition and Difference: Poetic Invocations of Nature in Visual Art. Tasmanian School of Art, University of Tasmania. Retrieved from: https://eprints.utas.edu.au/17368/2/whole-macdermott-thesis.pdf</p><p>Malygin, A. G. (2006). Morphodynamics of Phyllotaxis. Int. J. Dev. Biol. 50, 277-287.</p><p>McArthur, M. (2017). Of Polka Dots and Pumpkins: Yayoi Kusamas Infinite ImaginationLights Up Los Angeles. ARTBOUND 2020 Public Media Group of Southern California. .Retrieved from:</p><p>https://www.kcet.org/shows/artbound/of-polka-dots-and-pumpkins-yayoi- kusamas-infinite-imagination-lights-up-los-angeles</p><p>McShine, K. (1989). Andy Warhol a Retrospective. New York: The Museum of Modern Art.</p><p>Mezirow, J. (1991). Fostering Critical Reflection in Adulthood. New York: John Wiley &Sons.</p><p>Molesky, D. (2017). Yayoi Kusama the Beginning of Infinity. Juxtapoz Art + Culture, Issue 194/March 2017.</p><p>Morris, F. (2012). Through the looking glass Yayoi Kusamas Amazing World.Sydney. Art & Australia, Issue 49 No.3. p. 456-463.</p><p>Muir, K. M. (2015, December 10). Heres looking at: Blue poles by Jackson Pollock. The Conversation, Academic rigour, journalistic flair. Retrieved from: https://theconversation.com/au</p><p>Natalie, P. (2016). The Importance of Pattern in Art. Widewalls. Retrieved from: http://www.widewalls.ch/</p><p>National Gallery of Australia (2003, December). 2003 National Sculpture Prize & Exhibition: Harding, Matthew-Pyllotaxis 2002-2003. Retrieved from: https://nga.gov.au/</p><p>National Gardening Association. February's Flower: Violas (Violets and Pansies). Retrieved from https://garden.org/ideas/view/dave/2578/Februarys-Flower- Violas- Violets-and-Pansies/</p><p>Ng, B. (2017). An equal world. ArtAsiaPacific, Issue 105 Sep/Oct2017, p. 82-93.</p><p>Ostrow, S. (2003). Sol LeWitt, BOMB Artist in Conversation, Art: Interview. BOMB 85. Retrieved from: http://bombmagazine.org/article/2583/sol-lewitt</p><p>Oliveira, N. D., Oxley, N., & Petry, M. (1994). Installation art. London: Thames & Hudson, Ltd</p><p>Oliveira, N. D., Oxley, N., & Petry, M. (2003). Installation art in the new millennium. London: Thames & Hudson, Ltd.</p><p>Pandey, B. P. (2001). Plant Anatomy. New Delhi: S. Chand & Company Ltd. Palmer, D. (2010). James Turell: Making space with Canberra light. Art & Australia,Issue48 No.2. p. 246-251.</p><p>Pickover, C. A. (1995). The Pattern Book: Fractals, Art, and Nature.Massachusetts:World Scientific Publishing Co. Pte. Ltd.</p><p>Pickover, C. A. (1988). Mathematics and Beauty: Sampling of Spirals and StrangeSpirals in Science, Nature and Art. Oxford: Pergamon Press Plc.</p><p>Pogue, D. (2012). Printmaking Revolution. New York: Watson-Guptill Publications.</p><p>Pogue, D. W. (2012). Printmaking revolution. New York: Watson-Guptill Publications.</p><p>Powers, A. (2001). Nature in Design. London: Conran Octopus Limited.</p><p>Preble, D. and Preble, S. (1994). Artforms an Introduction to the Visual Arts (FifthEdition). New York: Harper Collins College Publisher.</p><p>Ratcliff, C. (1983). Andy Warhol. New York: Abbeville Press.</p><p>Rehmeyer, J. (2007). The Mathematical lives of Plants. Science News. Retrieved from:https://www.sciencenews.org/</p><p>Ricci, G. (2012). Guilia Ricci. Retrieved from: http://www.giuliaricci.eu/img/portfolio-Giulia-Ricci-en.pdf</p><p>Romaine, J. (June, 2009). Yayoi Kusamas Infinity Nets: Sublime or Spectacle?Comment. Retrieved from: https://www.cardus.ca/comment/</p><p>Rudderham, L. (1999). Colour and Meaning, Art, Science and Symbolism.London:Thames & Hudson Ltd.</p><p>Saxton, C. (2003). Art School. London: Quantum Publishing Ltd.</p><p>Schweingruber, F. H., Borner, A., & Schulze, E. D. (2008). Atlas of Woody Plant Stems: Evolution, Structure, Environmental Modification. New York: Springer Publishing</p><p>Seewald, N. (2010). The Myth of the Golden Ratio. Retrieved from: https://goldenratiomyth.weebly.com/the-author.html</p><p>Setyawan, A. Y. (2019). Variations on Symmetry. Singapore: Mizuma Gallery Pte.Ltd.</p><p>Steinhauer, J. (2020). Richard Anuszkiewicz, Whose Op Art Caught Eyes in the 60s, Dies at 89. Retrieved from: https://www.nytimes.com/2020/05/25/arts/richard- anuszkiewicz-dead.html</p><p>Storr, R. (1998). On the Edge Contemporary Art from the Werner and Elaine DannheisserCollection. New York: Harry N. Abrams, Inc.</p><p>Smith, R. (2003, November 13). Mario Merz, 78, an Italian Installation Artist. The New York Times. Retrieved from: https://www.nytimes.com/?action=click&contentCollection=Arts&region=Top Bar &module=HomePage-Title&pgtype=article</p><p>Spate, V. (1992). The Colour of Time Claude Monet. London: Thames and Hudson Ltd.</p><p>Subramaniam, M., Hanafi, J., & Talib, A. (2016). Teaching For Art Criticism: Incorporating Feldmans Critical Analysis Learning Model in Students Studio Practice. Malaysian Online Journal of Educational Technology. 4(1), 57-67.</p><p>Sullivan, G. (2009). Art Practice as Research inquiry in Visual Art. SAGE Publications Pvt. Ltd.</p><p>Symour, H. (2015). Ten Things You Might Not Know About Yayoi Kusama. 2009 - 2017AnOther Publishing Ltd. Retrieved from: http://www.anothermag.com/</p><p>Taylor, E.W. & Cranton. P. (2017). Critical Reflection and Transformative Learning: A Critical Review. PAACE Journal of Lifelong Learning, 26, 77-95.</p><p>Taylor, E.W (1991). The Handbook of Transformative Learning: Theory, Research and Practice. New York: John Wiley & Sons.</p><p>Taylor, R. (2006). Personal reflections on Jackson Pollocks fractal paintings.Histria, Cincias, Sade Manguinhos, 13 (supplement), 108-23.</p><p>Tate (2016, January). Mario Merz Fibonacci Tables 1974 6 [Exhibition Catalogue]. Retrieved from: http://www.tate.org.uk/</p><p>The Art Story Foundation (2021).Retrieved from: https://www.theartstory.org/artist/seurat-georges/artworks/</p><p>The Editors of ARTnews (2017, February 24). From the Archives: Donald Judd on Yayoi Kusamas First New York Solo Show, in 1959. ARTnews. Retrieved from: http://www.artnews.com/</p><p>The Universe Is Mental (2015). Retrieved from: http://www.theuniverseismental.com/</p><p>Tromp, I. (1999, November). Undetermined Pleasure and Unnecessary Beauty: An Interview with Richard Deacon. Sculpture Magazine, 18(9), 1-6. Retrieved from: http://www.sculpture.org/</p><p>Webb, A. (December 2014). Mimicking Nature [Blog at WorldPress.com]. Retrieved from: https://landperspectives.com/page/2/</p><p>Wong, W. (1996). Principles of Color Design. New York: John Wiley & Sons Ltd.</p><p>Valli, M., & Ibarra, A. (2013). Walk The Line, The Art of Drawing. London: Laurence King Publishing Ltd.</p><p>Weinerl & Javorsek (2018). Theory of Colour Harmony and Its Application. Retrieved form:file:///C:/Users/Foundation/Downloads/tv_25_2018_4_1243_1248.pd</p><p></p><p></p><p></p><p></p><p></p><p></p><p></p> |