FRAGMENTS WITHIN FRAGMENTS: DISTANCING THROUGH PANGLINGAN PRINCIPLE IN PAINTING PRACTICE
The creation of the Final Project "Fragments within Fragments" stems from examining the phenomenon of Mooi Indie, which in its paradigm perceives the East Indies through a sense of distance. This phenomenon illustrates how artworks of that era created a gap between reality and its repre...
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| Format: | Final Project |
| Language: | Indonesia |
| Online Access: | https://digilib.itb.ac.id/gdl/view/81913 |
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| Institution: | Institut Teknologi Bandung |
| Language: | Indonesia |
| Summary: | The creation of the Final Project "Fragments within Fragments" stems from
examining the phenomenon of Mooi Indie, which in its paradigm perceives the
East Indies through a sense of distance. This phenomenon illustrates how
artworks of that era created a gap between reality and its representation. In an
era where image production is increasingly easy and widespread, manipulation
leading to the distancing of experience often occurs unconsciously. Real objects
and experiences are replaced by images considered as representations of reality.
In this context, art is used as a means to present images and forms within them
that are known in an illusory manner. Through the panglingan (Sudjoko, 1992) of
initially representative photographic images, blurriness is created to detach the
image from its representative elements. This process creates a distance between
subject and object, reinforcing a sense of alienation between the image and the
viewer. By placing the subject at a great distance and creating a sense of
alienation through blurriness, this work encourages reflection on how people
view and experience objects in a digital era flooded with images, which are
merely fragments of real experiences. |
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