A Hope From The Past

A hope from the past

The objective of my proposed artwork is to construct an abstract piece that also incorporates some realistic forms. My artistic expression has been significantly influenced by Cubism and Suprematism, which have shaped my perception and understanding of the world.

This artwork aims to portray my childhood memories of Bandung. The landscape during my childhood was more verdant and vibrant compared to the present day. My focus is on capturing the expansive breadth of real-life compositions in the landscape. Given the impossibility of replicating the intricate details I have witnessed, I have chosen to express them through a blend of Cubist styles. This approach allows me to convey the emotions and juxtapositions associated with our collective longing for a healthier environment, reminiscent of the past.

In order to meet the criteria of Cubism and Suprematism, I have meticulously selected appropriate artistic elements. For the Cubist elements, I have developed shapes and forms by deconstructing objects into geometric components, thereby laying the foundation for more abstract Cubist styles. I have also further fragmented objects into geometric shapes and facets. I have consciously avoided creating non-objective abstraction, which is characteristic of Suprematism. Given that the artwork is intended to represent hope for the future, absolute abstraction, devoid of any representation of the external world, would not be appropriate.

In terms of techniques, I have employed faceting, where objects are depicted with facets, giving a more fragmented view rather than a coherent whole. I have also experimented with representing multiple perspectives simultaneously in a single composition for each idea, and explored the manipulation of space, creating a complex interplay between the foreground and background.

The color scheme is somewhat limited due to the Suprematist color palettes and subdued colors. Bold and primary colors are often used to create a sense of purity and simplicity, which I fully endorse in this work.

I have utilized different shades of some colors to extend Analytical Cubism, which often employs a monochromatic palette with a limited color range. Furthermore, I have incorporated the technique of interpenetration, which involves showing multiple viewpoints within the same object, thereby creating a sense of movement and dynamism.

I have finalized the artwork with a touch of Synthetic Cubism, continuing the use of geometric shapes but with a more synthetic, simplified approach. I have introduced brighter and more varied colors, moving away from the monochromatic tones of Analytical Cubism. At certain points, the thickness of the layers I have created gives the impression of a collage, a significant innovation where I have metaphorically incorporated each layer and depth. I have managed to highlight the rejection of traditional perspective by creating a flatter and more abstract representation.

Furthermore, the composition is dominated by a mix of geometric shapes such as squares, circles, and rectangles. Dynamic compositions are crucial in expressing my memories and hopes, so I have emphasized the arrangement of geometric forms in a dynamic, non-hierarchical manner, suggesting a sense of movement and energy. Each of these movements represents a distinct phase in the evolution of modern art, reflecting my exploration of form, space, and perspective. Proto-Cubism laid the groundwork, Analytical Cubism delved into fractured perspectives, Synthetic Cubism introduced collage and more color, and Suprematism pushed towards absolute abstraction and simplicity.