Exploring the Natural Aesthetic in Art
Art is often associated with the human hand, and the word “organic” might seem like a paradox when used to describe it. However, the use of the term “organic” in art can actually help to define a “non-painterly” approach. The more visible the hand and brushstroke of the painter, the less organic a work becomes. Rather, an “organic” production of feels as if art moves away from personal expression and emotion of the artist and towards the beauty in nature and the natural formation of color and form.
Dzwonik, Giesse and Rodriguez
At ARTSPACE 8, artists, Ula Dzwonik, Martin Giesse and Fidel Rodriguez, particularly we refer to their work as “organic.” They do not aim to obfuscate the human-made aspect of their work but, through their chosen techniques and styles, accentuate their ability to create a more organic effect in their art. Ula Dzwonik’s work for instance, seems as Organic and primitive, characterized by “the use of distressed layers” she works towards this goal using multiple color coats forming a loud and broken surrealist image.
Dzwonik’s works often have pasty smudges-like, concentrated with larger blocks of color, creating a distinct vibrant connection to the background. Her forms and ideas tend not to accept the arbitrary boundaries of the shapes as endpoints, as if each work is but a piece of a larger stencil that has the capacity to stretch over the edge of the subject. Dzwonik paints her works highlighting portions of the canvas or panels by painting blemishes and noise accentuating the unbounded nature of her characters.
Another way in which Dzwonik creates her distressed aesthetic is through her stamping technique. She uses the inherent qualities of differing consistencies of paint to create layers that partially exist to evoke her surreal environment. These layers create a naturally chaotic but controlled aggression with her message. This technique allows Ula to move away from an apparent brushstroke at times.
Martin Giesse takes a very different approach to the organic in his painting but seeks a similar aesthetic of natural form and color. He creates a symphony of natural patterns…seeking to create an organic development of forms. His approach to this goal might be unexpected. Giesse applies a design to that organic approach, as if he is meant to shape nature into something that seems man dominated. He has used this approach for a more abstract purpose than its natural context.
The technique means that the over layer of paint becomes the organic-like forms used as patterns to create that scaly look that drive the conversation in round forms, being the last application. Here, like Dzwonik, Giesse incorporates the organic into his technique but from a different perspective.
Bottom Line is…
The work of these artists shows that “organic” in art is not limited to a specific form or style. Instead, it can be expressed through the use of different techniques, styles, and ideas. In art, the natural and organic are not necessarily tied to the subject matter but can be found in the process of creation itself. The use of natural or organic techniques moves the focus away from the artist’s hand and towards the beauty and patterns found in nature.
Fidel Rodriguez work is an excellent example of this phenomenon. By emphasizing natural forms, behaviors and colors found in elements of nature, he is able to subliminally take every day symbols and
combine them to convey a message directed to the viewer’s psyche. These approaches result in works that are both abstract and evocative of natural behavior of elements. Giesse’s works often feature undulating patterns, which resemble the curves of blooming forms.
Fidel’s work creates a unique dialog that highlights the attraction and recognition of naturals states that makes us question our psyche’s perception, and yet pretty much it’s all nature as if we talk about fire, water or earth.
Ula, Martin and Fidel’s works are excellent examples of how artists can create an organic aesthetic through their techniques, materials or even perception and process. By emphasizing the natural qualities of their media and minimizing the human-made aspects of their works in some cases, they are able to achieve a sense of harmony and chaos that is evocative of the natural world, even though it is harnessed by the artists.
Organic in art can be seen not only in the finished product, but in the very process of creating the work. By incorporating elements of chance and natural process in their techniques, allowing the works to partially develop in an organic and unpredictable way. By embracing these elements, they are able to create works that are not only beautiful, but also deeply connected to their idea of the natural world.
In conclusion, organic in art is not just a description of subject matter, but also a way of working that emphasizes the natural qualities of materials and techniques. By minimizing the human-made aspects of their works and allowing natural processes to play a role, artists can create works that are evocative of the beauty and complexity of the natural world.
Now Let’s get back to basics!
Welcome to our comprehensive guide on the use of organic shapes in art and design.
Let’s explore the key differences between organic and geometric shapes and show you how artists and designers can use them to create visually stunning messages.
Organic shapes, such as leaves, clouds, and rocks, occur naturally in the environment and are often irregular and asymmetrical, making them challenging to replicate accurately. Conversely, geometric shapes, such as squares, circles, triangles, and rectangles, are easily defined using mathematical principles and are often used in design to create a sense of order, symmetry, and balance.
To create natural shapes and forms, artists and designers can use freehand drawing, collage, or digital tools such as Photoshop or Illustrator. Meanwhile, drafting, rulers, and compasses can be used to create precise geometric shapes. But it’s not just about the tools; it’s about the artist’s vision and creativity.
Organic and geometric shapes are both essential elements in visual arts, design, and architecture. Organic shapes usually can create a sense of naturalism and movement, while geometric shapes create a sense of order. In architecture and engineering, both types of shapes and forms are used to create functional and aesthetically pleasing structures.
By combining these two types of forms, creatives can create visually stunning and impactful works. The use of organic shapes in art and design is a powerful way to convey natural chaos in visual compositions. And geometric shapes are useful for creating a sense of order and symmetry through patterns.
In conclusion, as an observer…
The use of organic shapes in art and design is a vital aspect for artists and designers to connect to an audience. The power of these shapes lies in their ability to remind you subliminally the existence of them, which can evoke powerful emotional responses in viewers. We hope this guide has been helpful and inspiring to you, and we look forward to seeing the amazing works you create using organic shapes.
Biomorphic Forms in Art and Design
The use of biomorphic forms in art and design has been a significant trend throughout the 20th century, with prominent artists and designers incorporating organic shapes and natural forms into their work. From the Russian artist Wassily Kandinsky to the Italian designer Carlo Mollino, the appeal of biomorphic forms has extended across continents and mediums. Prominent Painters of Biomorphs Wassily Kandinsky, a founding member of Der Blaue Reiter, moved from Expressionism to abstraction in his art.
He sought to eliminate all traces of the real world in his paintings, and organic forms were a transitional phase in his process. Spanish surrealist Joan Miro and French surrealist Yves Tanguy also incorporated biomorphic forms in their work, though with different goals. Miro sought to unleash his subconscious creativity in true surrealist style, while Tanguy created a world of marine-like creatures.
Armenian artist Arshile Gorky, influenced by Miro and Robert Matta, developed his unique style of ‘living organisms floating in vivid color’ in the US. Natural Shapes in Sculpture Artists such as Jean Arp, Joan Miro, and Henry Moore used natural forms like bones, shells, and pebbles in their sculptures. The rounded, free-flowing shapes of their work were admired as ‘drawings in space’ and proved influential for furniture designers of the 1940s and 1950s.
Their popularity reflected Moore’s belief that “there are universal natural shapes to which everybody is subconsciously conditioned and to which they can respond if their conscious control does not shut them off.” Organic Forms in American Furniture Design The use of biomorphic forms in furniture design is particularly evident in the US. Charles Eames and Eero Saarinen were notable designers in the Organic Design in Home Furnishings competition at the Museum of Modern Art in New York. Their collaborative designs for living room furniture won first prize in 1940.
The use of avant-garde artists and industrial designers, as well as new technological developments, allowed designers to create increasingly organic designs. This combined with the perception that rounded shapes were more comfortable and welcoming led to a proliferation of biomorphic furniture designs. The Eameses’ 1955 rosewood and leather lounge chair and footstool, originally a birthday present for film director Billy Wilder, is one of their most celebrated designs.
Saarinen’s 1946 Womb chair and 1956 Tulip chair are also examples of biomorphic furniture design. Biomorphic forms also featured in his architectural projects of the period, including the TWA airline building at JFK Airport in New York. Organic Shapes in European Design In Italy, biomorphic design played a major role in post-war reconstruction.
After the rationalist style was associated with Fascism, designers turned to organic forms. Influenced by American design, Surrealism, and the sculptures of Moore and Arp, a distinctive organic aesthetic emerged in industrial design, interior design, and furniture. Carlo Mollino’s bentwood and metal furniture exemplifies this trend. Conclusion The use of biomorphic forms in art and design has been a significant trend throughout the 20th century, with prominent artists and designers incorporating organic shapes and natural forms into their work. From the early pioneers of the movement to the modern-day, the appeal of biomorphic forms continues to inspire and influence contemporary design.