Texture – Raster – Pattern - Picture
Špela Udovič · Tekstilec · 2014
This article deals with the issue of viewers' perception, observation and understanding of certain works of art that can reasonably be linked to the creation of textiles.In this study, we wanted to justify the assumption that the visual structure of a pattern may be comparable to the grammar of some paintings and graphic works.Our viewpoints are based on the postulate that a work of art can be transformed and consequently perceived as a pattern through repeated variations and that the visual expressiveness of a pattern can also achieve the status of a work of art.With the analysis of image areas, we tried to prove that the structure of the visual fi eld is one of the essential factors that aff ect both the perception of paintings and art matter patterns.The image surface is the fundamental part of the area perceived in the visual system.Every image surface in space can be observed in a visual and artistic way.When an image surface is a part of a work of art, e.g. a pattern or picture, we experience and analyse it from the perspective of art viewing.In artistic terms, the image surface can be perceived as an art surface of paintings, drawings, patterns etc.The aspects of its creation are refl ected in the properties of textures, structures, factures, patinas and raster.The features of colour relationships and colour modulation which can be seen in the form of textures and raster are implied by fi ne art in diff erent models.The halftoning and texturing can connect the patterns of Lia Cook and Ghada Amer textile images, as well as of Victor Vasarely and Bridget Riley paintings.In Riley' s paintings, the textural grammar is highlighted in the shape structures forming the visual fi eld, whereas Ghada Amer also expresses herself through the hapticity of textile materials which are mainly used in the conceptual sense.