Concept
The Square Trick
Artistic expression is fundamentally dependent on the viewer's experience. However, the concrete, verbal part of the expression is the most important part. The pre-experiential part may be perceived through intuitive or spiritual perception. It is not a memory of this life, bu...
The Square Trick
Artistic expression is fundamentally dependent on the viewer's experience. However, the concrete, verbal part of the expression is the most important part. The pre-experiential part may be perceived through intuitive or spiritual perception. It is not a memory of this life, but it is a kind of experiential knowledge. It can also be an influx of external memory, so to speak, which is spiritually linked to the memories of others. In this sense, it is established through dependence on experience.
Recognition of simple forms also depends on empirical knowledge. The square I use also depends on the experience of recognizing it, which influences how I feel and perceive it. There are those who recognize a square as a square precisely, and there are those who perceive it more roughly in the category of a square. Some may perceive a square or rectangle on a street sign, a more vertical rectangle, a rectangular image on a road sign, or a cube of dice as a square. Some may associate it with the square in a math textbook. Others may see the square as an abstraction of another concrete experience, a dance or halo of light, a glimmer of sunlight or reflections through the trees, as I arrange the squares in my paintings with pictorial balance and design considerations.
For me, the intent of the square is a clue to poetry and abstraction. To a certain extent, it pulls the viewer's consciousness away from the figurative background and confuses the viewer's experiential perception, shaking the left brain's perception of the form, which is the assumption of the left brain that controls rationality and language, such as "this is a flower," "this is an apple," "this is a mountain," "this is a person," etc., and inducing a poetic sense of the original colors, points, lines, and planes of the painting. I want to lead the viewer to the poetic sensations created by the dots, lines, and surfaces. The use of squares, which at first glance may seem to be an obstacle, acts as an invitation to poetry. It also helps the viewer to enter the painting from the right side of the brain, which is highly intuitive, thereby avoiding the experience of the painting as, for example, a tourist collecting only the fact that he or she has been there.
The right side of the brain is said to be the brain responsible for imagery, memory, imagination, and inspiration. It is related to the five senses of sight, hearing, smell, touch, and taste, and controls emotions. The right brain is also said to be responsible for recognizing differences in sound and color and being moved by things. The left brain, on the other hand, is said to be the brain that controls language, calculation skills, and logical thinking, and is mainly responsible for language and numerical processing. The squares in my painting serve to help that right brain work actively. When the left and right sides of the brain are in good harmony, a work of art is able to reach its full potential. This is the reason why I use the square device in my paintings.
