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Voids in Art and Architecture: Connotation and Deconstruction |
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| รหัสดีโอไอ | |
| Creator | Ryusuke Kido |
| Title | Voids in Art and Architecture: Connotation and Deconstruction |
| Contributor | Pishnu Supanimit, Preecha Thaothong, Yusaku Imamura, Chaiyosh Isavorapant |
| Publisher | Faculty of Painting, Sculpture and Graphic Arts |
| Publication Year | 2567 |
| Journal Title | Silpa Bhirasri (Journal of Fine Arts) |
| Journal Vol. | 12 |
| Journal No. | 1 |
| Page no. | 113-142 |
| Keyword | Void, Sculpture and Architecture, Ready Made Object, Deconstruction, Signifier and Signified, Denotation and Connotation |
| URL Website | https://so02.tci-thaijo.org/index.php/jfa/index |
| Website title | Silpa Bhirasri (Journal of Fine Arts) |
| ISSN | 2697-6293 |
| Abstract | The foundation of Western art is based on form perfection, shaped by the ideologies of each era. The emphasis on form often led to disregarding voids, which were considered insignificant elements. It was not until the emergence of modern art that voids began to assert their position, with artists experimenting with them ironically and successfully. Both forms and voids convey explicit and implicit meanings within the socio-cultural context of each viewer and reflect the artist's intentions. This article explores the potential of voids in 20th century to early 21st century art and architecture based on structural semiotics and deconstruction philosophy especially denotation and connotation of signs. The findings are as follows: 1) Forms and voids reveal the presence or absence of components in each art piece, and their interactions unveil new interpretations, as exemplified in works such as Barbara Hepworth's "Oval Sculpture" and Henry Moore's "Large Two Forms." 2) The conveyance of meaning through multiple signs is influenced by the socio-cultural context of each viewer, exemplified by Antony Gormley's works, which subtly allude to Buddhist and Christian philosophies, as seen in "Sense" and "Flesh." 3) Declaring that "this is art" requires the convergence of different signs, as evidenced in works such as Anish Kapoor's "L'Origine du Monde." 4) Architectural communication relies on the complexion of signs, and deliberate alterations by architects can create an architectural language that becomes profound and meaningful. This transformation process preserves memory and history, as exemplified by Daniel Libeskind's "Jewish Museum Berlin." 5) In the case of existing historical architecture, as the artist had done it with readymade object, the process of deconstruction results in the simultaneous loss of original meanings and the acquisition of new ones. Examples include Gordon Matta-Clark's works like "Bronx Floor: Floor Above, Ceiling Below", "Splitting", and "Conical Intersect." |
