SUBLIMATION OF ANTHROPOMORPHIC (GRADUATION WORK) 2021.
Today’s world is filled with errors, many people are trying to cover up their mistakes
in behavior through appearance or status. But at the end of the day, they encounter their reflection in the mirror of inner ugliness. Perfection does not exist, but only a brief illusion.
Based on monotheistic views, the only force that is completely complete and perfect is the exalted Creator. All people carry within them the good and the bad edifice of the soul, from which they cannot escape. Man is born, grows, and absorbs knowledge, which in the end, when he grows up, partially rejects and loses the original chastity of his being, then sinfulness occurs.
The notion of sin in the life of every man is a necessary experience, to know oneself better. Because after all, to reach the light, we need to go through darkness. In darkness there is always light, in light, there is always hope, and where there is hope there is love. Self-awareness of one's being is crucial in the development of personality. The topic of my research, as we have seen, encompasses various aspects of theoretical and artistic cognitions and experiences. I have presented seven deadly sins and virtues in line with my understanding of the problem posed which is extremely complex.
In the final work which consists of two photographic cycles, seven deadly sins
and the seven sacred virtues, I aspired to know myself. In scenes of sin and virtue, each portrait individually mimics the subconscious of man. Using the medium of photomanipulation, I presented grotesque and allegorical scenes of open heads of busts from which anthropomorphic forms emerge, at the same time presenting many differences that bring with them a subjective expression of the bad and good sides of the human psyche. Using the intensity and symbolism of the colors, I separated the dead from the living.
In the catalog of works (Sins 1 - 7), black and white portraits reveal the decaying deformation of each sin individually, like imaginary characters in a horror story.
Then, in the continuation of the catalog of works (Virtues 1 - 7), the colorful faces give a completely different impression to the observer, where each virtue carries the inspiration of charity and fairytale.
In the art of ancient Greece, the bust represented the notion of ideals and wealth, it was believed that virtue exudes beauty. In the context of my work, the bust no longer represents its former significance but is only a means of plasticity of form.
Background geometric shapes carry a strong nonverbal message. Shapes with straight lines and angles usually symbolize structure and order, while shapes with curves are softer and represent connection and community.
in behavior through appearance or status. But at the end of the day, they encounter their reflection in the mirror of inner ugliness. Perfection does not exist, but only a brief illusion.
Based on monotheistic views, the only force that is completely complete and perfect is the exalted Creator. All people carry within them the good and the bad edifice of the soul, from which they cannot escape. Man is born, grows, and absorbs knowledge, which in the end, when he grows up, partially rejects and loses the original chastity of his being, then sinfulness occurs.
The notion of sin in the life of every man is a necessary experience, to know oneself better. Because after all, to reach the light, we need to go through darkness. In darkness there is always light, in light, there is always hope, and where there is hope there is love. Self-awareness of one's being is crucial in the development of personality. The topic of my research, as we have seen, encompasses various aspects of theoretical and artistic cognitions and experiences. I have presented seven deadly sins and virtues in line with my understanding of the problem posed which is extremely complex.
In the final work which consists of two photographic cycles, seven deadly sins
and the seven sacred virtues, I aspired to know myself. In scenes of sin and virtue, each portrait individually mimics the subconscious of man. Using the medium of photomanipulation, I presented grotesque and allegorical scenes of open heads of busts from which anthropomorphic forms emerge, at the same time presenting many differences that bring with them a subjective expression of the bad and good sides of the human psyche. Using the intensity and symbolism of the colors, I separated the dead from the living.
In the catalog of works (Sins 1 - 7), black and white portraits reveal the decaying deformation of each sin individually, like imaginary characters in a horror story.
Then, in the continuation of the catalog of works (Virtues 1 - 7), the colorful faces give a completely different impression to the observer, where each virtue carries the inspiration of charity and fairytale.
In the art of ancient Greece, the bust represented the notion of ideals and wealth, it was believed that virtue exudes beauty. In the context of my work, the bust no longer represents its former significance but is only a means of plasticity of form.
Background geometric shapes carry a strong nonverbal message. Shapes with straight lines and angles usually symbolize structure and order, while shapes with curves are softer and represent connection and community.
In today’s time of disturbed values, my scenes of sin mark a profane present, where sin is accepted as the normality of urban society.
On the other hand, allegorical depictions of virtues refer to all the supreme values that should be the goal of every human being. In the end, I permeated one whole being through my self-portrait and indicated my vision of myself, goodness, and sinfulness. Thus, the sublimation of the anthropomorphic refers to human life and the constant struggle through which each individual goes through their own way.
