Art has developed in a direction parallel to humanity and has become a narrative of mankind through constant changes. Individuals and individuals expressed their feelings and thoughts through art. If it is necessary to define art as a method of inquiry or inquiry or as a language, it can be said that this language and narration have changed and developed in parallel with and in parallel with humanity. Human and art dilemma has entered into a way that can not be reversed by the period of enlightenment, modernity and modernization have become a problem of art. Nowadays, it is also obvious that art is not just a coloration on the surface. Especially in this 21st century, where trends and insights have prevailed, it is possible to see that the waste also takes its place in art spaces. In addition to plants and minarets, we see that living animals also take their place in art spaces. Artists must be part of nature, not image creators that reflect nature. The artist had to descend into the roots of natural beings, like alchemists and sorcerers, and make new arrangements in order to rediscover their mental and spiritual existence. Things like copper, water, river, soil, snow, fire, air, stone, electricity, gravity, growth and ascension are the most direct materials to guide the artist. The important thing is not to dominate or reflect nature, but to live and think together with nature. In the context of these thoughts, the representatives of the poor art have tried to determine the direction of this thought with the choice of the object used in its compositions and designs, its usage and its side meaning. The object-objects used in the axis of contradiction-contradiction with the social values against are simple-ordinary and crude; water, soil, stone, etc ... in the nature of being free and natural-organic should be. To sum up, it was supposed to be poor, poor.



Yazar : Süleyman İRGİN -
Sayfa Sayısı: 11-28
DOI: http://dx.doi.org/10.29228/usved.1.505
Tam Metin:
Uluslararası Sanat ve Estetik Dergisi
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