At the last Tutorial, we discussed the topic of “difference” as the main one for my research. This topic is not only important to me personally but has also been one that I have unconsciously chosen and followed for many years in my practice.
For example, I was always interested in not repeating something that already exists or copying nature, as is done in classical art education, but I was looking for a new and unique embodiment of my interpretations and perception of the world. Or I want to create visual images that provide multiple interpretations, rather than just one point of view.
The process of creation for me became a process of studying the world and myself. Through creativity, I learned that I am a synesthete; after the start of the war, I analysed my creative path and realized that all this time I had been unconsciously working to destroy the fascist principles embedded in me by my culture. Or now, for example, I have found a connection between my “strange” materials and my childhood. For me, the whole process of work was a constantly changing, living process of transformation.
Moreover, from the very beginning of my creative activity, I have always strived to communicate, create a dialogue with the audience, encouraging them to question principles and norms.
Subsequently, I discovered that all these principles are related to Deleuze's theory of Difference. Gilles Deleuze's concept of "difference" is primarily formulated in his book Difference and Repetition, published in 1968. This work is considered one of Deleuze's most important philosophical contributions, but very difficult to read, in which he challenges traditional notions of identity and emphasizes the primacy of difference.
Main Ideas in Deleuze's Concept of Difference
1. Difference vs. Identity:
• Traditional Western philosophy, influenced by thinkers like Aristotle and Plato, often prioritizes identity over difference. It treats difference as secondary, as variations of a fundamental identity.
• Deleuze reverses this relationship, asserting that difference is primary. He argues that identity is derived from difference, not the other way around.
2. Repetition:
• Deleuze distinguishes between two kinds of repetition: repetition of the same and repetition of the different.
• The repetition of the same involves repeating identical instances, whereas the repetition of the different involves variations and changes that bring newness and transformation.
3. Difference-in-Itself:
• Deleuze introduces the idea of "difference-in-itself," which exists independently of any identical entities. This contrasts with traditional views where difference is defined in relation to a fixed identity.
• Difference-in-itself is a dynamic, generative force that drives change and novelty in the world.
4. Virtual and Actual:
• Deleuze's ontology includes the concepts of the virtual and the actual. The virtual is a realm of potentiality and difference, while the actual is the manifestation of these potentials in concrete forms.
• The virtual is not unreal; it is a field of forces and potentials that actualize in specific ways, producing new differences.
5. Multiplicity:
• Deleuze uses the concept of multiplicity to describe systems of differences that are not reducible to a single identity or unity. Multiplicities are dynamic and heterogeneous, emphasizing variation and differentiation.
Now, I want to connect Deleuze's concept of difference to my practice:
• Multiplicity and Variation: Deleuze's concept of difference focuses on the existence of multiple, diverse possibilities and forms. In my art practice, I explore the diversity of human experiences and perspectives. I use unconventional materials, colour, and synaesthetic experience to highlight the multiplicity, richness and complexity of difference, through showcasing war subjects, propaganda, parent-child relationships, or challenging stereotypes and prejudices.
• Constant Change, Becoming and Transformation: Deleuze views difference as a dynamic process of becoming, rather than a static state. My art evolves and transforms over time, exploring new techniques, styles, and themes. Emphasize the fluidity and openness of difference, welcoming unexpected discoveries and insights along the way. Also, my artworks reflect personal trauma, cultural influences, and the chaotic nature of life, which can be seen as embodying this process of continuous transformation.
• Fostering Dialogue: I strive for my art to foster dialogue and understanding across differences. I use my artwork to bridge divides and cultivate empathy and solidarity.
• Challenging Norms: I use art to challenge dominant norms and conventions, inviting viewers to question their assumptions and biases.
Therefore, I will try to transform Deleuze's theory and use his methods to explore how my work can challenge norms and perceptions.
A. Practice-Based Research:
• Art as Research: I will treat my artistic practice as a form of research, where the creation and analysis of artworks generate new knowledge and insights. This aligns with Deleuze's emphasis on creativity and becoming.
• Authorship: I will continue to incorporate my personal narratives, experiences, and reflections as integral parts of my research. This methodology highlights your work's subjective and experiential aspects, emphasizing the personal and affective dimensions of difference.
B. Aesthetic and Critical Analysis:
• Visual Analysis: I will conduct a detailed visual analysis of my artworks, examining how they embody multiplicity, transformation, and disruption. With particular attention to the use of colour, texture, form, and composition in conveying these concepts.
• Thematic Analysis: I will analyse repetitive themes in my artworks, such as trauma, memory, propaganda, parent-child relationships and identity and explore how these themes intersect with Deleuze's concept of difference and contribute to challenging established norms.
C. Audience Engagement Studies:
• Participatory Research: I will engage with my audience through interactive and participatory methods, such as interviews, and feedback sessions and investigate how viewers perceive and respond to my artworks, focusing on their visceral and emotional reactions.
• Community and Collaboration: I need to value the contributions of diverse participants and create “something” where multiple voices and perspectives can interact and generate new possibilities. I will focus on processes that bring out the unique differences in each participant, rather than forcing conformity to a single vision or goal.
• Impact Assessment: I need to assess the impact of my artworks on disrupting complacency and inspiring transformative action. This can involve measuring changes in attitudes, perceptions, and behaviours among my audience. But this may be one of the most difficult aspects of my analysis.
Bibliography and references
1. Deleuze, Gilles. "Difference and Repetition." Columbia University Press, 1994.
2. Protevi, John. PREPARING TO LEARN FROM DIFFERENCE AND REPETITION. (Nepal) Winter 2010, Vol. 5, No. 11: 35-45. Draft of version that appeared in Journal of Philosophy: A Cross-Disciplinary Inquiry. Department of French Studies. Louisiana State University
Comments