How Texture in Art Affects the Meaning

Art HistoryEli Anapur

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  • jean pierre paul charles claude louis jacques antoine auguste nicolas joseph gustave camille and leon are painters

Can texture in art affect meaning? Can we attribute to art a specific meaning created from this basic element of artistic practice, instead from a combination of discreet elements each art piece contains? This feature aims at answering these questions but before turning to concrete examples, it is important to chart out how texture is defined and what types of texture are so far discerned in art theory.
 
At the core of understanding texture stands the sense of touch. What can we feel by applying touch to different surfaces is one of the basic forms of communication between our bodies and other objects, organisms and sometimes even artworks. Texture stands for a surface of an object, its tactile quality but also the visual effect it can produce. This duality between the sense of physical touch and visual observation led to discernment of different forms of texture in theory. Texture is roughly compartmentalized in tactile, visual, natural, artificial and hypertexture. From choosing different materials, to optical illusions created through their manipulation, and artificial production, texture is an element of art that has equal significance in meaning production along with line, color, shape or space.
 

visual texture and textures on painting surface are elements that create paint design shape for page

Henry Moore – Recumbent Figure. Image via tate.org

 

Types of Texture in Art

Visual or implied texture refers to the texture that cannot be felt by touch, but which resemblance is instead achieved through the masterful use of artistic tools and materials. It is linked with flat surfaces, and is most notably achieved in painting, although some sculptures also create an illusion of different textures. Drawings can also create a textural illusion of some other material, but the effect is never fully complete without the use of color. Tactile or actual texture in contrast to visual is not optically sensed, but can be felt with our sense of touch.[1] It is one of the fundamental elements of three dimensional art, and relates to the used materials, such as marble, brass, bronze, steel, plaster, and many more. The processes used in creating sculptures affect the way texture is achieved, and range from casting, welding, carving, to polishing, sanding or tapping. Natural textures are the ones already existent, while artificial texture is achieved through different manipulations of materials. Hypertexture is defined as “a realistic simulated surface texture produced by adding small distortions across the surface of an object.”[2]
 

Miika Nyyssonen texture - Gravity and Reconstruction arts in texture, 1995, via texture arts

Miika Nyyssonen – Gravity and Reconstruction, 1995, via paintingsandsculptures.net

 

Hyperrealist Textures on Flat Surfaces

Among the artists who explore the possibility of a flat surface to achieve tactile effects are hyperrealists. Hyperrealism as an art movement developed from, and is considered a continuation of Photorealism. A difference between the two movements came with technological development, when hyperrealists were suddenly able to capture more detailed images of reality than their precursors, and to transform them from photos into paintings. Often unusual combinations and emotive background of represented objects puts them aside from photorealist veristic and emotionally cold renderings of reality. Texture on their paintings is represented in such a way as to completely trick the eye, and the meaning and significance of these works relies heavily on the textural effects. The hyperrealistic effects these paintings have inscribe the meaning into everyday objects elevating them from the level of the ordinary into the symbols and archetypes of different social and cultural models. Audrey Flack is the artist who works in this style, and her representations of feminine paraphernalia have been described as the feminist commentaries on contemporary position of women.
 

rough using of light make drawing photograph techniques in arts smooth

Audrey Flack – Chanel. Image via audreyflack.com

 

Gottfried Helnwein’s Nazi Magi

Gottfried Helnwein’s grisaille Epiphany I (Adoration of the Magi) is a contemporary take on a biblical Nativity theme, where Magi are replaced by the Schutzstaffel “SS” officers. The hyperrealist take by Helnwein and textural mastery he achieved has a particular importance regarding the topic. Creating a realistic texture of the represented human bodies tricks the viewer into believing that she sees an old documentary photo instead of an imaginary scene. The malevolent and ambiguous overtones of the painting where one is uncertain of the meaning of the image, but nevertheless senses its highly critical stance, would not be possible without the meticulous rendering of textures. Disturbing documentary effect of the painting becomes an element that brings historical plausibility into the image that reminds us of the past, but also warns us about the future.
 

texture and paint of painting elements are like on design page texture

Gottfried Helnwein – Epiphany I (Adoration of the Magi), 1996. Image via helnwein.com

 

Gözde Ilkin’s Embroideries – Stitching Contemporary Pains

Gözde Ilkin is a Turkish artist of a younger generation that discovers complexities of Turkish contemporaneity in her stitched cloths. Her delicate style transforms fabrics that are used in almost every household into political statements, which she finishes with un-sewn strings or layers of acrylic paint.[3] Ilkin intervenes into texture of the material she uses in order to add another layer of meaning into it. Textile has been used in high art since feminist artists in the 1960s and 70s reintroduced it. Before feminists pointed out to its significance, textile production was considered a feminine craft, and a lower form of expression not in line with the dominant art practices. Gözde Ilkin approaches textile aware of its historical importance, and uses it as the foundation on which she embroiders her stories. Themes she exploits include alienation, sexual and social identities, and power relationships. Female figures on her artworks often have amorphous shapes of heads or upper bodies as a critical remark on female identity crisis in contemporary world ruled by oppressive notions of beauty and femininity.
 

in drawing texture and photograph techniques using of smooth texture light make rough texture in arts

Gözde Ilkin – Status of Home: The living Room for Man, 2008. Acrylic and stitch on cloth. Image via gozdeilkin.blogspot.rs

 

Jovanka Stanojevic’s Mixture of Implied and Actual Textures

Jovanka Stanojevic uses dry pastel, cardboard and other materials in her enlarged portraits. In her painting Friend from 2015 she represented a head of a person with large beard. The texture of the beard is emphasized through the application of twigs and heavy layers of color. The haptic effect is achieved thus in two ways, from the hyper-realistic depiction of the person’s head, but also from the application of materials that add third dimension to the painting. Stanojevic’s enlarged portraits celebrate uniqueness and difference of each human being, and search for the sublime in the everyday and in what is considered ordinary.[4] The use of mixed media helps her achieve the realistic effect but also natural textures applied on the painting convey a sense of connectedness between humans and the nature.
 

using texture in texture arts is smooth or rough in texture

Jovanka Stanojevic – Friend, 2015. Image via oktobarskisalon.org

 

Texture in Art and Meaning Production

Would Gözde Ilkin’s artworks be so powerful in conveying a message if not for the textural combination of supple fabrics and a thread that pierces it? Or would Helnwein’s paintings have the same critical potency if not done in a style that achieves photographic illusion through realistic renderings of textures? Perhaps these questions suffice for the explanation of importance of texture in production of meaning as answers are already implied in them. Together with other elements in art, texture is both an aesthetic feature but also possesses a deeper significance, especially when materials come with the history imbedded in social orderings, like textile. Texture defines the aesthetics of each artwork; it situates artworks in particular styles and historical periods, but also affects their meaning and significance.
 

Editors’ Tip: Gottfried Helnwein
 
Austrian artist Gottfried Helnwein (born 1948) has enjoyed longstanding notoriety for his cross-media depictions of wounded children. Updating an artistic tradition of transgressed childhood innocence (Goya, Messerschmidt) with the visceral brutality of Viennese Actionism, Helnwein’s hyperrealistic paintings–as well as his photographs, multimedia works and performances–are truly confrontational, insofar as they permit the viewer no complacency and no escape. The most substantial Helnwein overview yet published, this volume marks the artist’s 65th birthday, and presents all stages of his artistic development, from landmark works of photorealism such as “Peinlich” (“Embarrassing”) from 1971 to 1982’s “Self-Portrait” (“Blackout”), which achieved fame worldwide as a Scorpions album cover, to more recent works such as the disturbing series Disasters of War, which focuses on severely injured children and teens.
 

References:
  1. Pipes A., (2003), Foundations of Art and Design, p.65.
  2. Anonymous, Definitions for Hypertexture, definitions.net [December 7, 2016]
  3. Anonymous, Who’s Who in Turkish Culture and Art, turkishculture.org [December 7, 2016]
  4. Anonymous, Jovanka Stanojevic, oktobarskisalon.org [December 7, 2016]

 

Featured images: Delphine Brabant’s sculpture.  Image via galerie-caroline-tresca.fr; Denis Peterson – Halfway to the Stars. Image via denispeterson.com; Gözde Ilkin – Boys eat Turkish delight, 2008. Acrylic and stich on canvas. Image via gozdeilkin.blogspot.rs. All images used for illustrative purposes only.
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