Abstract: The relationship between art, nature, and biology has many facets that reflect the complex interplay between morphological domains, themes, and interpretations throughout history. The aim is to bridge the gap between predictable (human-made) and unpredictable (natural) patterns by experimenting with different techniques and natural materials. The research question resides as, ‘How do 20th – century biomorphic experiments in art reveal the relationship between art and biology, through formal and semiotic frameworks?’. Within qualitative research methodology, a comparative analysis guided by Edmund Burke Feldman’s four-step systematic theory for art criticism and analysis, consisting of description, analysis, interpretation, and evaluation, is employed. The expansion of Feldman’s theory by Lee Emery includes key interpretive frameworks encompassing formalist, and semiotic. This theory is chosen as a tool to help art education students understand and interpret works of art in a systematic and step-by-step manner. Findings indicate that combining formalist art analysis, which analyzes visual elements in artworks, and semiotic art analysis in symbols and meaning, is most effective for bridging a deeper meaning in interpreting works of art. Supported by photographic documentation of biomorphic experiment, the research emphasizes movements such as Biomorphic Art, Environmental Art, and BioArt, demonstrating how biomorphic art morphs and mimics nature into different forms and structures.
Keywords: Art Analysis, Bioart, Biomorphic art, Biosemiotics, Environmental Art, Organic forms.
Kundai Annah Mharadze, Arkin University of Creative Arts and Design, 230604002@arucad.edu.tr
Prof. Dr. Turan M. Aksoy, Arkin University of Creative Arts and Design, turan.aksoy@arucad.edu.tr
About Author
