Menifesto of “Dead-centre Complementary” [Destructiveness]

Manifesto of “Dead-centre complementary”

Against rule of thirds, is to break off norm perspective to provoke new concept that destruct human being thinking. Reconstruction of the philosophy of harmony must interpreted George Field Chromatics, rule of thirds 1845.

“93. Sir Joshua has given it as a rule, that the proportion of warm to cold colour in a picture should be as two to one, although he has frequently deviated therefrom; and Smith, in his “Remarks on Rural Scenery,” would extend a like rule to all the proportions of painting, begging for it the term of the “rule of thirds,” according to which, a landscape, having one third of land, should have two-third of water, and these together, forming about one-third of the picture, the remaining two-thirds to be for air and sky; and he applies the same rule to the crossing and breaking of lines and objects, & c.”

Beside according to rule of third, 4 crossing line form interactive and attractive spots called power point. Placements of subject-matters have advice to locate on or near the power point to enhance the optimum visual impact. Revolution has made, where non-of the primary visual data have place on the power point. Manifesto of “Dead-centre complementary” should shout out, “Dead-centre shouldn’t be avoided but it should implement! “Indirectly synchronisation between varieties of balance principles; gravity force have been created; where the revolved red heart ball is flooding on the airspace between sins and saint dimension. The composition is more than 2 dimensional balance points, understanding of virtual 3-D spatial must discuss. The composition is confrontational where the imagery on the right side stand out strongly and capture viewer breath for couple of second, and force viewers read as much possible visual information at once. Expose violence to viewers directly, but how far we say: this is symmetrical balance, no mirror imagery.

Besides, the composition is not asymmetrical balance, the red revolved heart play a main role as the centre point of the composition. Contrast between sins and saints have well depicted via the placement of elements and colour matching. Briefly, the portion of colour studies is 50%-50% static harmony in between hue and black. It neither complementary harmony nor triad or tetrad harmony of the colour balances. Again exploitation of failure of colour theory, destructiveness has been provoked. The abnormal colour scheme not only attracted viewer eye negatively, beside it psycho viewer mindscape and force pressure of society taboo tales to let viewer fall into long term interpretation of the visual essay.

“Dead-centre” complementary should suggest as solution to reinvent between minimalism and maximalism, where minimalism is the summary of idea and concept or a filtration of information. Besides, maximalism enhance information thought artist self experience in life that it can be transfer into single piece of work.

“... Chinese Maximalism emphasises the spiritual experience of the artist in the process of the artistic creation and their self contemplation outside and beyond...”Sarena Abdullah (2005), Chinese Maximalism: A New Artistic Methology?, sentAp!, Comtemporary Visual Art Magazine, Issue 1 jul-oct 2005.

But how far the manifesto work? And how far the hypothesis can realise and adapted?

Destructiveness

(Poem from Latiff’s [Express]ion+Log, Part 2)

Destructing…

Refering Pago-pago,

Read sentAp! Issue 5,

Attending Dr. Zek’s lecture,

Discussing Malaysian Modernist,

Attending Rahime’s Talk,

Listening to Modernist Chit-chat,

Waiting for apprearing Latiff

In Penang Artist’s Favourite Show!

It really…Destructed

“Pago-pago”ing my mentality,

Confusing my studies,

Blocking my thinking processes,

Awaking myself,

Shocking me, New input,

Rise up my curiosity,

I’m waiting, waiting and waiting…

End up

Disappointing.

& Impredictably…

“…through binary oppositions, like good/evils, day/night, man/woman, culture/nature, being/non-being, and that it is the non-being of its opposite that gives meaning to a term rather than it’s self/identity.” (Osbone, Richard. 2001. Megawords. Allen&Unwin: 45)

“Pago-pago: Bangkok seumpama corak cendawan yang bertumbuh rambang,” (Dr. Zakaria Ali, Malaysian Modern Art lecture, Feb 2007.)

“… pameran kembara yang saya berasa kecewa semenjak melangkah ke dalam Galeri Petronas minggu yang lepas…” (Dr. Zakaria Ali, Malaysian Modern Art lecture, Feb 2007.)

“Latiff, pelukis yang rajin and passionate, sejak Pago-pago, Mindscape, Gelombang, Langkawi dan, kini Voyage.. beliau giat melukis, setiap satu lukisan siap, beliau mendokumentasikan, mula-mula menggunakan slaid, sehingga digital, konsistensi beliau tak pernah lemah… Voyage walaupun ditundah tarikh siap tetapi siri yang beliau banyak struggling… pameran yang berjaya…” (Rahime, Malaysian Art Dialer, Fine Art As Business Seminar, March 2007)