عنوان مقاله [English]
One of the great transformations in human history is undoubtedly when the human beings observed that they could change the nature of materials – as a piece of soft mud could be changed to a hard stone by applying fire to it. Ceramic material is the first result implied by changing the structure of inorganic materials that clay makes with 3 other materials of water, air and fire. This compounded alchemy has caused the creation of various plans and designs during the history and it can be said that it is the oldest art continued up to the present time. The evolution of ceramics has not only been in the decorations, various forms and structural methods and techniques, but it has also caused changes in the concept and contents of works during prolonged periods.
We are observing the works by artists, in the 2nd half of the 20th century and in 21st century, that indicate a meaningful approach towards this artistic technology. Hence, this paper deals with searching into the works of artists who have had deep considerations towards the secrets of the deformed clay, and in fact, the study of the material identity and its potential in creating artistic works, and also a kind of deliberation towards the world and the power of clay are observed in their works.
This paper indicates the state of impressing the relation of human beings and other creations with clay, by the contemporary artists. Moreover, imagination and impression of thoughts on clay, indicates that any works created by clay reminds living creatures such as human being, who one day used to live and now has transformed to clay. It is the case, formed by western contemporary artists, in different artistic frameworks including installations, performances, etc. that has been analyzed in this paper. The evolution felt in such works shows that not only the artistic work, but also the used material has found a specific expression and it is the clay itself that sets forth as an intermediate to attract the addresses attentions. In other words, the relation between the artistic work and the used material in creating the work is properly formed poetically.
-پویا، اعظم، (1374). هبوط در قرآن و انجیل، فصلنامهبینات، سال دوم، شماره 8، صص 74-84.
-Galerie d'art graphique, Musée national d'art moderne – Centre de création industrielle, 6 mars-29 avril 1996, Galerie nationale du Jeu de paume, 5 mars - 28 avril 1996, Centre Georges Pompidou, (1996), Miquel Barcelò, Ed. du Jeu de Paume, Paris.