Using deconstruction to advance traditional compositional and pictorial spaces in contemporary Iranian art

Shobeirinejad, Seyed Abdolhadi (2010) Using deconstruction to advance traditional compositional and pictorial spaces in contemporary Iranian art. Doctoral thesis, Northumbria University.

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Abstract

This thesis considers the possible association of Deconstructive thinking with the pictorial practices of traditional Iranian painting. The author‘s intention has been to improve the understanding of the type of compositional device here termed 'broken space‘ for artists who are interested in the traditional Iranian concept of space, by using deconstruction philosophy and its application in architecture. This research compares and contrasts the ideas that inspired Iranian painters and deconstructionist architects in order to explore ways in which they can be integrated. The author realized that the Iranian-Sufi view of the 'world of the imagination‘ and the deconstructive architect‘s concept of 'chora‘ would be the key ideas for producing the 'broken spaces‘ that are so characteristic of both art forms. Interestingly, these two ideas have comparable features that seem to have generated spaces with similar attributes. Nevertheless, the two forms are derived from completely different ambitions: the Iranian concept is metaphysical and the deconstructive chora is post-metaphysical. The practical part of the research established methods for employing deconstructive thinking whilst advancing the Iranian tradition of representing space. The author‘s practices, which were embedded in the techniques of printmaking, reflected the theoretical and philosophical ambition of building links between medieval thinking and a contemporary movement which is still felt to be radically positioned. Finally the thesis compares the author‘s pictorial approach to 'broken forms‘ of architectural spaces developed in this research with those of other contemporary Iranian artists. The advantages of the deconstructive method are outlined and theoretical and practical similarities such as the desire to create dreamlike spaces are evaluated. All things considered, the two forms can be integrated with greater ease than the alternative interactions with Western ideas currently used by the contemporary artists included in this study. The thesis concludes with some suggestions for further research that could help realize this goal.

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