COMPOSITION AS A CONSTRUCT | GROUP SHOW: OPEN CALL | DEADLINE 20TH NOVEMBER 2020

1 - 31 December 2020

“The composition is the organized sum of the interior functions of every part of the work” - Wassily Kandinsky

Exhibition: 1st - 31st December 2020

Deadline For Submission: 20th November 2020

Submit Here: SUBMISSION FORM CLICK HERE

Location: Online

 

“The composition is the organized sum of the interior functions of every part of the work” - Wassily Kandinsky

 

Composition alludes to the manner in which articles are orchestrated with each other in a work of art. It is utilized to make a balance, a feeling of depth, or to evoke concentration from the viewer in the particular work. This perspective typically separates a normal work from something truly exceptional.

 

Balance: You can tell immediately if a piece is unequal, regardless of whether you aren't sure why. To keep up balance in a piece you need to ensure the visual "weight" is the equivalent on the two sides. 

 

This doesn't mean you need a balanced structure since you can do this unevenly too. 

 

For instance, in the event that you have one enormous article on one portion of your work of art, you should seriously think about putting two littler items on the opposite side to look after parity. 

 

Contrast: We generally consider differentiate according to values, however it can allude to any components that are altogether different. 

 

For instance, you should blend little and huge shapes in your work of art or join straight lines and bent lines, or cool and warm hues. 

 

Emphasis: Think about where you need the eye to center. Put your point of convergence in an eye-getting place. Think about the focal point of your piece or as per the standard of thirds to accomplish this. 

 

Movement: This is the manner by which the eye moves along various lines from item to question. The game plan of your lines and subjects directs the watcher around. Remember this as you set up your piece. 

 

Pattern: Pattern is tied in with rehashing components, so you may decide to mastermind comparable shapes or hues around your piece to accomplish this. 

 

Rhythm: What's the pace at which the eye moves around your piece? Rehashing certain shapes and hues can give the eye a spot to lay before proceeding onward, or straight lines permit the eye to speed around rapidly. 

 

Heaps of a similar rehashed component near one another makes a frenzied rhythm(like loads of quick rhythms) and a component that is simply rehashed a couple of times will make a more quiet beat. 

 

Unity: This is the feeling that everything in a piece "goes together" either through a binding together component like shading, or through visual weight. Along these lines, no single article resembles it's overloading the piece.

 

We ask artists to challenge the boundary of this statement.