Post 703 –by Gautam Shah
In art and design, we deal with forms, as holistic or composed entities. The holistic entities also turn compositions, when these are expressed through contexts like media (frame or the extent), setting (site, environment, landscape, illumination), or referenced (orientation, location, sensorial exposition). The pursuit of creativity is at several stages, in realizing the holistic form or graduating to a state of holism after the composition. The assimilation of several elements into a ‘formal’ composition creates a ‘striking’ arrangement, ‘balanced’ placements and an ‘organization’ with synergy and potency of new possibilities.
For holistic forms, the creator, if the scale permits, can roll the entity to have an all-around experience, but the moment it is rested or delivered it gains a setting. For holistic forms that are too large, the roll around occurs over a ground, and that becomes its defacto rest. Holistic forms like sculptures or art installations have no functional livability, but as a static structure must rest and get set. Dynamic entities like balloons, space capsules or stations are rotated axially and sometimes three dimensionally to create a ‘dynamic equilibrium’.
For composed entities it is necessary to have a bearing. Primarily it is the ‘ground’ where these sit, tie up or rest. And where such provisions do not exist, the bottom of the composition (closer to the omnipresent gravity) becomes one. Elements of the composition at the lower half of the field are closer to the ground and so perceived to be more static. The stability is also enhanced by elements of composition with mass wider in the lower parts. Inclusion of lighter elements such as air, water, sky, flowers, develops a sense of ethereal floatation. Surreal art has not escaped the gravity.
Holistic or composed entities of art and design can remain personal, if are fleeting expressions. But most other expressions, to reach a wider community, must persist. Grounding is the first step towards the persistence. Grounding is related to the force de majeure, the gravity. Grounding creates a balance. Its lack unnerves our sense of regularity, but its oddity excites us. The balance is about distribution of mass around the vertical and across the perceptible zone. Vertical is the post struggle phase of gaining the equilibrium.
The height of the vertical is always referenced to the horizontal of the ground. The depth of perception stretches the ground in perspective, and proportionately reduces the vertical.
Some form of equipoise is sought for compositions. The balance with equipoise forms symmetry. For equipoised balance the elements around vertical must remain with it, bearing the same effect of gravity, but their repositioning can cause un-equipoise. The symmetry around the vertical, however, is affected by the position of the vertical in the field of perception.
Symmetry is more apparent in visual fields as two eyes can focus to a single object. Two ears need some attenuation to perceive the balance. For the sensation of touch balanced localization is difficult to achieve. Smell and taste buds have singular identity, but spatially too close for distinctive perception of balance.
The zone of perception varies in extent and over time, mainly due to changes in contextual conditions and environment.
The holistic entities are of many types, copycats, metaphoric or abstract. Copycats duplicate the original in altered scale, sensory (colour, texture) effects and purposes. The metaphoric expressions could be literal models or images of human or other beings (in natural or grotesque form). The abstract presentations remain obscure for their imagery or meaning.
The composed creations, unlike the holistic ones have many elements, some are mutually related, due to the purpose, proximity, similarity, counter balancing, scale, massing, etc. These constituents individually or in combinations evoke the past experiences. The past experiences are subjective and fluid. A composition remains a frame in a time slot of a happening.