Repetition and difference in nature: reinterpreting plants pattern mechanism structure through installation art

Chin, Anna Chui Han

QR Code Link :
Type :	thesis
Subject :	N Fine Arts
Main Author :	Chin, Anna Chui Han
Title :	Repetition and difference in nature: reinterpreting plants pattern mechanism structure through installation art

Place of Production :	Tanjong Malim
Publisher :	Fakulti Seni, Komputeran dan Industri Kreatif
Year of Publication :	2022
Corporate Name :	Universiti Pendidikan Sultan Idris
PDF Guest :	Click to view PDF file
PDF Full Text :	Login required to access this item.

Abstract : Universiti Pendidikan Sultan Idris

This research project investigated the aesthetics of plants patterning formation through the exploration of design elements and principles based on the concept of repetition and difference (similarity and variation). The research project aimed to explore the concept of repetition and difference within the context of natural plants’ organic patterning mechanism and to reinterprets the phenomenon of repetition and difference as agents in unifying the element order and chaos within the plants' organic patterning system, creating a balanced and harmoniousformation. The key elements in the research project consist of organic motifs of magnification, the proportional ratio of Fibonacci, colour harmonies, rhythmic organisations and the illusions of depth. The key artists involved in this research are Yayoi Kusama, GiuliaRicci, Richard Anuazkiewicz, Andy Goldsworthy, Claude Monet, Georges Seurat, Sol LeWitt, Richard Deacon, Peter Barnitz, Albert Yonathan Setyawan, and James Turrell. The reference artworks evoke and reemphasise the importance of repetition and variation as conceptual principles that secure the overall balance and rhythm of design compositions and generate a visual impact of illusory and infinite-dimensional depths, as well as a sense of continuity. The concept of Repetition and Difference by Deleuze, Ball and Balmond, and the Colour Theory by Itten were used to contextualise the research project. A Studio Practice Method was used through critical self-reflection, studio experimentation, and contextual review approaches. The research project is contributing to the field of Fine Art and other art and design industry by establishing the collective issues and ideas with various installation approaches and technical features in art productions demonstrating creativity on the aspects of the interrelationship between repetition and difference generating harmony and unity within the complexity of plants' organic patterning formation. Furthermore, this research project would inspire new perceptions of the interactivity between repetition and difference as patterning agents applicable in many aspects of constructing forms and structures in understanding the greatness and uniqueness of nature.

References

Ball, P. (2008). Nature’s Patterns: Shapes. New York: Oxford University Press Inc.

Ball, P. (2009). Nature’s Patterns: Branches. New York: Oxford University Press Inc.

Ball, P. (2009). Nature’s Patterns: Flow. New York: Oxford University Press Inc.

Balmond, C. (2007). Element. New York: Prestel Publishing Ltd.

Barkley, G. (2012). Zoom: The shape-shifting painting of Helen Eager. Art & Australia, Issue 49 No. 3. p. 406-408.

Barniz, P. (2011). Repetition and the power of Simplicity. University of New Orleans Theses and Dissertations. Paper 1300. Retrieved from: http://Scholarworks.uno.edu/td.

Barrett, T. (2011). Making Art: Form & Meaning. New York: McGraw-Hill.

Bell, A. D. (2008). Plant Form, An Illustrated Guide to Flowering Plant Morphology. London: Timber Press.

Borgdorff, H. (2010). The Production of Knowledge in Artistic Research. The Routledge Companion to Research in the Arts, 44 -63. Retrieved from: https://www.researchcatalogue.net/profile/downloadmedia?work=129647&file= 129651.

Bowes, B. G., & Mauseth, James D. (2008). Plant Structure – A Colour Guide. New York:Manson Publishing.

Callos, J. D., & Medford, J. I. (1994), Organ position and Pattern Formation in the ShootApex. The Plant Journal, 6(1), 1-7.

Cavazos, L. (2014). Andy Goldsworthy. Retrieved from:https://mslckitty.wordpress.com/2014/02/02/andy-goldsworthy/

Chevreul, M. E. (1860). The Principles of Harmony and Contrasts, and their applicationsto the Arts (3rd ed.). London: Bell and Daldy.

Coldwell, P. (2010). Printmaking a Contemporary Perspective. London: Black Dog Publishing Limited.

Collins, J. (2007). Sculpture Today. New York: Phaidon Press. Inc.

Coldwell, P. (2010). Print Making Contemporary Perspective. London: Black Dog Publishing Limited.

Cook, T. A. (1979). The Curves of Life. New York: Dover Publications Inc.

Cronk, Q. C. B. (2009). The Molecular Organography of Plants. Oxford: Oxford University Press.

Deleuze, G. (1994). Difference and Repetition. Trans. by Patton, P. London: AthlonePress.

Donovan, M., Fiske, T., Kemp, M., & Beardsley, J. (2010). The Andy GoldsworthyProject. London: Thames and Hudson.

Droste, M. (2002). Bauhaus 1919 -1933. Cologne: Taschen GmbH.

Encyclopedia of World Biography (2004), M. C. Escher, The Gale Group Inc.Retrievedfrom: http://www.encyclopedia.com/

Escher, M. C. (1992). M. C. Escher The Graphic Work, Introduced and Explained by theartist. Köln: Evergreen.

Feisner, E. A. (2000) Colour. London: Laurence King Publishing Ltd.

Friedman, T. & Goldsworthy, A. (1993). Andy Goldsworthy a Collaboration with Nature. New York: Harry N. Abrams Inc. Publishers.

Garoian, C. (2006). Art Practice as Research: Inquiry in the Visual Arts by Graeme Sullivan. ResearchGate. Retrieved from: https://www.researchgate.net/publication/260343661

Gill, M. (2000). Color Harmony Jewels. Massachusetts: Rockport Publishers.

Gentlein, M., & Howard, A. (2016). Art Visionaries. London: Laurence King PublishingLtd.

Gestalten (2015). Liquid Spaces. Berlin: Gestalten.

Goldsworthy, A. (1990). A Collaboration with Nature. New York: Harry N. Abrams Inc. Publishers

Haeckel, E. (2008). Art Forms in Nature. Munich: Prestel.

Herbert, L. (2013). The Color Inside. Landmarks, College of Fine Arts, The University of Texas at Austin., Retrieved from: https://landmarks.utexas.edu/artwork/color- inside

Holzwarth, H. W. (2003). 100 Contemporary Artists. New York: Taschen.

Hopper, A. (2010). Contemporary Art under Construction. Spiralzoom. Retrieved from:http://www.spiralzoom.com/index.html

Hoptman, L., Tatehata, A. & Kultermann, U. (2003). Yayoi Kusama. London: PaidonPress Limited.

Hughes, A. D., & Morris, H. V. (2008). The PrintMaking Bible. San Francisco: ChronicleBooks LLC.

Interaction Design Foundation. (2002). Retrieved from: https://www.interaction- design.org/literature/topics/color-theory

Itten, J. (1970). The Element of Color. London: Chapman & Hall. Jarray, T. (2011). Giulia Ricci. The Art Section. Retrieved from: http://zoola nder52.tripod.com/theartsection5.9/id37.html

Khabanyane. K. E., Maimane. J. R. & Ramabenyane. M. J. (2014). A Critical Reflection on Transformative learning as Experienced by Student-Teachers during School- Based Learning. Mediterranean Journal of Social Sciences, 5(27), 452 – 459.

Kimmelman, M. (2007). Sol LeWitt, Master of Conceptualism, Dies at 78. The New YorkTimes. Retrieved from: http://www.nytimes.com/2007/04/09/arts/design/09lewitt.html?mcubz=3#addenda

King, S., Beck, F., & Luttge, U. (June, 2004). On the mystery of the golden angle in phyllotaxis. Plant, Cell and Environment 27, 685-695.

Li, A.H. (2016). Contemporary Installation Art (ARTPOWER). Artpower International Publishing Co., Ltd.

Liesbrock, H. (2005). Sol Lewill Wall Drawing 1176, Seven Basic Colors and All Their Combinations in a Square within a Square for Josef Albers. Düsseldorf: Richer Verlag.

Lidwell, W., Holden, K., & Butler, J. (2003). Universal Principles of Design. Massachusetts: Rockport Publishers Inc.

Livio, M. (2002). The Golden Ratio: The Story of Phi, the World's Most Astonishing Number. New York: Broadway Books.

MacDermott, M. (2005). Repetition and Difference: Poetic Invocations of Nature in Visual Art. Tasmanian School of Art, University of Tasmania. Retrieved from: https://eprints.utas.edu.au/17368/2/whole-macdermott-thesis.pdf

Malygin, A. G. (2006). Morphodynamics of Phyllotaxis. Int. J. Dev. Biol. 50, 277-287.

https://www.kcet.org/shows/artbound/of-polka-dots-and-pumpkins-yayoi- kusamas-infinite-imagination-lights-up-los-angeles

McShine, K. (1989). Andy Warhol a Retrospective. New York: The Museum of Modern Art.

Mezirow, J. (1991). Fostering Critical Reflection in Adulthood. New York: John Wiley &Sons.

Molesky, D. (2017). Yayoi Kusama the Beginning of Infinity. Juxtapoz Art + Culture, Issue 194/March 2017.

Morris, F. (2012). Through the looking glass – Yayoi Kusama’s Amazing World.Sydney. Art & Australia, Issue 49 No.3. p. 456-463.

Muir, K. M. (2015, December 10). Here’s looking at: Blue poles by Jackson Pollock. The Conversation, Academic rigour, journalistic flair. Retrieved from: https://theconversation.com/au

Natalie, P. (2016). The Importance of Pattern in Art. Widewalls. Retrieved from: http://www.widewalls.ch/

National Gallery of Australia (2003, December). 2003 National Sculpture Prize & Exhibition: Harding, Matthew-Pyllotaxis 2002-2003. Retrieved from: https://nga.gov.au/

National Gardening Association. February's Flower: Violas (Violets and Pansies). Retrieved from https://garden.org/ideas/view/dave/2578/Februarys-Flower- Violas- Violets-and-Pansies/

Ng, B. (2017). An equal world. ArtAsiaPacific, Issue 105 Sep/Oct2017, p. 82-93.

Ostrow, S. (2003). Sol LeWitt, BOMB – Artist in Conversation, Art: Interview. BOMB 85. Retrieved from: http://bombmagazine.org/article/2583/sol-lewitt

Oliveira, N. D., Oxley, N., & Petry, M. (1994). Installation art. London: Thames & Hudson, Ltd

Oliveira, N. D., Oxley, N., & Petry, M. (2003). Installation art in the new millennium. London: Thames & Hudson, Ltd.

Pandey, B. P. (2001). Plant Anatomy. New Delhi: S. Chand & Company Ltd. Palmer, D. (2010). James Turell: Making space with Canberra light. Art & Australia,Issue48 No.2. p. 246-251.

Pickover, C. A. (1995). The Pattern Book: Fractals, Art, and Nature.Massachusetts:World Scientific Publishing Co. Pte. Ltd.

Pickover, C. A. (1988). Mathematics and Beauty: Sampling of Spirals and “Strange”Spirals in Science, Nature and Art. Oxford: Pergamon Press Plc.

Pogue, D. (2012). Printmaking Revolution. New York: Watson-Guptill Publications.

Pogue, D. W. (2012). Printmaking revolution. New York: Watson-Guptill Publications.

Powers, A. (2001). Nature in Design. London: Conran Octopus Limited.

Preble, D. and Preble, S. (1994). Artforms an Introduction to the Visual Arts (FifthEdition). New York: Harper Collins College Publisher.

Ratcliff, C. (1983). Andy Warhol. New York: Abbeville Press.

Rehmeyer, J. (2007). The Mathematical lives of Plants. Science News. Retrieved from:https://www.sciencenews.org/

Ricci, G. (2012). Guilia Ricci. Retrieved from: http://www.giuliaricci.eu/img/portfolio-Giulia-Ricci-en.pdf

Romaine, J. (June, 2009). Yayoi Kusama’s Infinity Nets: Sublime or Spectacle?Comment. Retrieved from: https://www.cardus.ca/comment/

Rudderham, L. (1999). Colour and Meaning, Art, Science and Symbolism.London:Thames & Hudson Ltd.

Saxton, C. (2003). Art School. London: Quantum Publishing Ltd.

Schweingruber, F. H., Borner, A., & Schulze, E. D. (2008). Atlas of Woody Plant Stems: Evolution, Structure, Environmental Modification. New York: Springer Publishing

Seewald, N. (2010). The Myth of the Golden Ratio. Retrieved from: https://goldenratiomyth.weebly.com/the-author.html

Setyawan, A. Y. (2019). Variations on Symmetry. Singapore: Mizuma Gallery Pte.Ltd.

Steinhauer, J. (2020). Richard Anuszkiewicz, Whose Op Art Caught Eyes in the ’60s, Dies at 89. Retrieved from: https://www.nytimes.com/2020/05/25/arts/richard- anuszkiewicz-dead.html

Storr, R. (1998). On the Edge Contemporary Art from the Werner and Elaine DannheisserCollection. New York: Harry N. Abrams, Inc.

Smith, R. (2003, November 13). Mario Merz, 78, an Italian Installation Artist. The New York Times. Retrieved from: https://www.nytimes.com/?action=click&contentCollection=Arts®ion=Top Bar &module=HomePage-Title&pgtype=article

Spate, V. (1992). The Colour of Time Claude Monet. London: Thames and Hudson Ltd.

Subramaniam, M., Hanafi, J., & Talib, A. (2016). Teaching For Art Criticism: Incorporating Feldman’s Critical Analysis Learning Model in Students’ Studio Practice. Malaysian Online Journal of Educational Technology. 4(1), 57-67.

Sullivan, G. (2009). Art Practice as Research inquiry in Visual Art. SAGE Publications Pvt. Ltd.

Symour, H. (2015). Ten Things You Might Not Know About Yayoi Kusama. 2009 - 2017AnOther Publishing Ltd. Retrieved from: http://www.anothermag.com/

Taylor, E.W. & Cranton. P. (2017). Critical Reflection and Transformative Learning: A Critical Review. PAACE Journal of Lifelong Learning, 26, 77-95.

Taylor, E.W (1991). The Handbook of Transformative Learning: Theory, Research and Practice. New York: John Wiley & Sons.

Taylor, R. (2006). Personal reflections on Jackson Pollock’s fractal paintings.História, Ciências, Saúde – Manguinhos, 13 (supplement), 108-23.

Tate (2016, January). Mario Merz Fibonacci Tables 1974 – 6 [Exhibition Catalogue]. Retrieved from: http://www.tate.org.uk/

The Art Story Foundation (2021).Retrieved from: https://www.theartstory.org/artist/seurat-georges/artworks/

The Editors of ARTnews (2017, February 24). From the Archives: Donald Judd on Yayoi Kusama’s First New York Solo Show, in 1959. ARTnews. Retrieved from: http://www.artnews.com/

The Universe Is Mental (2015). Retrieved from: http://www.theuniverseismental.com/

Tromp, I. (1999, November). Undetermined Pleasure and Unnecessary Beauty: An Interview with Richard Deacon. Sculpture Magazine, 18(9), 1-6. Retrieved from: http://www.sculpture.org/

Webb, A. (December 2014). Mimicking Nature [Blog at WorldPress.com]. Retrieved from: https://landperspectives.com/page/2/

Wong, W. (1996). Principles of Color Design. New York: John Wiley & Sons Ltd.

Valli, M., & Ibarra, A. (2013). Walk The Line, The Art of Drawing. London: Laurence King Publishing Ltd.

Weinerl & Javorsek (2018). Theory of Colour Harmony and Its Application. Retrieved form:file:///C:/Users/Foundation/Downloads/tv_25_2018_4_1243_1248.pd

This material may be protected under Copyright Act which governs the making of photocopies or reproductions of copyrighted materials.
You may use the digitized material for private study, scholarship, or research.

Back to previous page