[IN]VISIBLE MEANING: Exploring Narrative within the Artistic Framework
Mansour Forouzesh | Magyar Képzőművészeti Egyetem | Hungarian University of Fine Arts
Abstract
The dialogical process between the audience and the artwork is fundamental to the occurrence of artistic communication. Artistic communication is influenced by many factors, making it a complex system. This complexity comes from the interaction of various philosophical, social, psychological, and other elements that shape the artistic experience and motivates the audience to find/create a meaning while being confronted by the art work.
A key part of the artistic experience is the artistic narrative component. Artistic rhetoric, as shown through narrative, creates a strong connection between the artist and the audience via the artwork. This relationship is central to the effectiveness of artistic communication, as it allows the ideas, emotions, and messages from the creator to reach the viewer, enhancing the overall impact of the artistic endeavor.
In this research, I aimed to experiment with a narrative framework that reflects the ideas which I wanted to express through my artworks.
Keywords
Artistic Communication, Meaning in Art, Artistic Narrative, Photography, philosophy
Introduction
The [IN]VISIBLE MEANING artistic research project explores how meaning emerges in documentary photography, where captured events are part of everyday life rather than staged for the purpose of creating meaning.
The main issue in this research is not whether a meaning could possibly be transmissened to the audience or not. Instead, the process of relating phenomena in the photography based artworks that occurs in the audience’s mind is the goal.
“Getting meaning” or being “meaningful” in an artwork seems to occur through the emotional connection between the viewer and the artwork. And as Roland Barthes believes, it is the viewer who ‘makes’ the picture[1].
However this connection between phenomena presented in a photograph, which can lead to a particular meaning in the audience’s mind, might not exist in the real world. Here, I would like to clarify that by “reality” or “real world,” I am referring to the physical lived experience encountered by the photographer or artist. Thus, I define it as the tangible world that the camera is able to capture.
Given the definition of reality, we can raise the question: How can photos, as representations of reality, lead the audience to derive a meaning that is valid for them? Although documentary photos record concrete events, they were not created with the intention of generating meaning.
Therefore, can we ask these questions, where do these meanings come from? Are they based on the human desire to discover and apply meanings in their lives? Is it accurate to say that the meaning that emerged in the audience’s mind from a photograph/art work depends on their mental and emotional states? Where the context in which the audience tries to understand the meaning behind the photo has been created? By the artist? Or the audience?
The issue of shadows in Plato’s Allegory of the Cave, or the case of the elephant in a dark room, by Rumi[2], could further explain this discourse. In both explanation of human interpretation of the outer world, the truth and reality were different for each individual as they could only comprehend things based on their personal grasp on the representation of the events.
Thus if it is the audience who creates the meaning in their mind, what could possibly be the role of the artist? Could the allegory of cave perfectly explain the complexity of the relation between the audience and the photo?
As part of this comprehensive research project, the initial phase of this study is dedicated to elucidating my personal engagement with the concept of narration or the artistic narrative.
If we accept that the common ground between information and emotions is their intersection within the narrative structure, then we can hope that by identifying a narrative pattern between the audience and the artist, we can provide a more accurate explanation of the meaning-making process.
With this experimental artistic research methodology, I have endeavored to investigate a framework in which the artist, the audience, and the artwork are viewed not as separate entities, but as interconnected components of a complex system that mutually influence each other through the processes of artistic communication.
Artistic Narrative Elements
As Terry Barrett explains the relationship between the artist and the audience is not a one-way transmission of meaning from the creator to the viewer. Instead, it is a dialogical process where the audience actively interprets and engages with the artwork, bringing their own perspectives and experiences to bear. This interaction can lead to multiple interpretations and a richer understanding of the work. The audience’s role is thus integral to the complete realization of the artwork’s meaning[3].
Within this dialogical process, the narrative serves as the crucial link between the audience’s pure artistic experience and the artistic expressions created by the artist, enabling the various parts of the story to be understood in relation to each other. Therefore, the dialogical process will be complete if the artistic narrative makes it effective.
The importance of artistic narrative lies in where the information or phenomena that influence the artist meet the artistic efforts to communicate through a critical, philosophical, or emotional creation. The narrative serves as a tool to connect the artist’s concerns with the audience through the artwork.
My artistic experience indicates that artworks occasionally diverge from the descriptions provided by artists to introduce their works or intentions. Although both the ideas and the artworks aim to convey a concept, the connection is sometimes not effectively established. Conversely, in some other artistic works, the connection is perfectly clear, demonstrating that the artist is not only “aware” or “concerned” with something important but also able to convey their concerns effectively through the artwork by creating a narrative structure within it.
In this regard, I aim to examine how this dialogical process occurs through a narrative structure in which the audience can discover their share or role in creating or finding meaning in my artworks which have been exhibited in the past two years.
To provide a clearer explanation, I have divided the issue of artistic narration into two main categories:
- Internal Narrative Elements: This category refers to the narrative connection between different components within a single artwork. It encompasses the relationships among the internal elements of a painting or photograph. Additionally, it includes the connections among multiple photos, paintings, or other works of art created by an artist, viewed together as part of an artistic assemblage.
- External Narrative Elements: This category pertains to the connection between the artwork and its surrounding world, which can influence or be influenced by the artist or the audience. It involves examining the social, cultural, and political context, as well as the space or event in which the artwork is presented to the audience.
Before discussing my experiences with the exhibitions, it is pertinent to provide a brief overview of the photo series I have exhibited, which will enhance the understanding of the topic.
Comfort Zone is a photo series that explores the complex relationship between humans and their urban environments, highlighting the presence of people in city spaces. Urban structures, intended to create order and safety, also symbolize individuals’ backgrounds, social classes, and social networks, affecting human life profoundly. The series critiques how cities have overshadowed human centrality, leading to psychological and social phenomena that overwhelm people. Through metaphorical depictions, the collection portrays humans in their fundamental nature, confronting a city built for “citizens.”
Figure 1 Comfort Zone | Limbo 2022
The FEAR Photo Series comprises 12 images taken during the pandemic quarantine, each paired with a headline from major international media outlets. These photographs reflect on the pervasive influence of COVID-19 news and media coverage on daily life, highlighting their role in heightening public anxiety and shaping societal perceptions. Beyond documenting media impact, the series aims to chronicle the emotional and psychological toll of the pandemic through deliberate compositions and symbolic visual elements, offering both a visual narrative and a historical record of collective experiences during this global crisis.
Figure 2 FEAR 05 | 2021
Space as an External Narrative Element
Based on the aforementioned definition of the external narrative element outlined in this article, I have regarded space as a narrative component to integrate into the storytelling intended for the audience. The spatial context already existed without alteration; however, its strategic utilization could enrich the interpretative depth of the descriptions presented in these two photographic series.
These two photo series differ significantly in how subjects are presented within their compositions. The FEAR series falls into the still-life genre, serving as a visual narrative of how media impacted my personal life during the Covid-19 pandemic. In contrast, Comfort Zone is a documentary series in black-and-white, revealing urban life’s contradictions.
FEAR employs a fixed angle to depict my interaction with objects during the pandemic’s onset, aiming to create a visual narrative of my experience and media’s influence. This series aims to resonate emotionally with viewers through shared experiences, using fear and obsession during the pandemic as a common language. Technically, the photos maintain a specific angle to enhance audience focus and attention on surrounding objects.
Figure 3 [In]visible Meaning Photo Exhibition | April 2023
Conversely, Comfort Zone communicates through documentary photography, highlighting the contradictions inherent in urban environments. The series explores the discord between human life and urban spaces.
For the Comfort Zone exhibition, I chose an unconventional venue—a warehouse in an old Budapest building not intended for social or gallery use. This setting underscores the discomfort and contradiction depicted in the photos, immersing viewers in the narrative’s tension.
In contrast, FEAR was exhibited in a clean, organized space that emphasizes the importance of the photographs over the surroundings. This environment allows viewers to focus solely on the images and experience what the photographer saw, without the additional pressure imposed by the exhibition space.
Installation and Experimentation with Internal Narrative Elements
The concept of making installations both visually captivating and intellectually stimulating is supported by the purpose and significance of installation art, which transcends traditional boundaries by engaging viewers physically and emotionally, often serving as a medium for social commentary and personal narratives[4].
In this project the installations revolve around photography while echoing the central concept across various mediums. The focus is on how the main idea of the installation can be repeated and conveyed to the audience, and how an installation can be visually captivating while also imparting a philosophical or thoughtful narrative[4].
Installation art often aims to transform spaces into engaging, thought-provoking environments, utilizing various elements such as sculptures, multimedia, and lighting to create immersive experiences that resonate with viewers[5].
Figure 4 The Bubble installation | 2B Gallery Budapest 2023
In this context, I have endeavored to create a narrative where the audience can discover my questions through the installations. These installations reflect the philosophical ideas that have fascinated me. To construct this narrative, I have experimented with different materials and mediums to see if the questions could effectively be shared with the audience. This aligns with the idea of using different mediums to echo the central concept of an installation[6].
The employment of diverse mediums was not merely to echo ideas but to intricately contribute to a comprehensive conceptual framework. Thus, each constituent of every installation functions rhetorically in relation to others. Should any part be absent, although retaining meaning independently, the overarching idea of the installation would remain incomplete. And this is what I define as an internal narrative within the art work.
THE ALLEGORY OF THE BUBBLE
The Presence and Absence
The first installation, titled “The Presence and Absence,” exhibited at 2B Gallery in Budapest, explores the subjectivity and objectivity of phenomena in human life. It delves into what we see and feel as we confront the complex combinations of elements around us. This exploration can be related to the fusion of space, materials, and subject matter in installation art, allowing me to challenge societal norms and provoke thought, engaging viewers on both intellectual and emotional levels.
Figure 5 The Bubble installation | 2B Gallery Budapest 2023
In this installation, we see three photos depicting the stages of a water bubble bursting in the air near a rod visible behind it. Spatial illusion and visual error make us think that the bubble has burst due to a collision with the rod on top of the building, while in reality the rode is far behind the bubble. This coexistence is creating a semantic structure in the audience’s mind. The rod and the bubble are actually several tens of meters apart. These three photos illustrate the formation, presence, and absence of the bubble. This juxtaposition serves as a reminder of the philosophical concept of being and not being.
Adjacent to the three photographs of the bursting bubble, I have installed an artwork metaphorically depicting the moment of the bubble’s existence. To explore this idea further, I used a balloon, a pedestal, and some pieces of metal wire to create a metaphorical image that halts the fleeting moment captured in the photos. By combining the balloon, pedestal, and a glass box, and utilizing shadows, I aimed to initiate a dialogue between existence and non-existence.
This dialogue generates an interesting visual juxtaposition between the bubble photos and the balloon itself, along with its shadow on the wall, reflecting a recurring idea. The concept of “to be or not to be” is presented once through the sequence of bubble photos, and again through the philosophical relationship created between light, shadow, and balloons.
This interplay of elements and ideas creates a layered narrative, encouraging viewers to contemplate the transient nature of existence and the illusions of perception.
[NON]SENSE
Id, Ego, SuperEgo
The second installation employs three different mediums to create a philosophical and psychological narrative. According to Freud, human personality consists of three components: the id, the ego, and the superego[7]. This much is widely understood. However, the narrative extends further. If we accept that the superego represents the upper or transcendental aspect of the human personality, we must examine it more closely.
In Freud’s view, the superego is an evolutionary construct founded on wisdom and human experience, making it the most evolved part of the personality that responds to external phenomena.
The super-ego is the representative for us of every moral restriction, the advocate of a striving towards perfection – it is, in short, as much as we have been able to grasp psychologically of what is described as the higher side of human life[8].
This interpretation of the superego can be likened to Rumi’s philosophy, which suggests that achieving perfection requires “introspection”—looking inward rather than seeking perfection or the path to it externally. Rumi profoundly notes, “The inspiration you seek is already within you. Look inside”[9].
Based on Freud’s definition of the superego and Rumi’s philosophy of introspection, I have created an installation that integrates these two ideas, highlighting their similar yet distinct perspectives on understanding the world.
By integrating these perspectives, the installation weaves a narrative based on these two viewpoints to comprehend the world around us. The installation comprises three distinct parts: Id, represented by three photographs; Ego, manifested in a video installation; and Superego, embodied by an interactive object.
In the combination of these mediums, the audience becomes intrigued and actively engages with the exhibition to deepen their understanding. Initially, viewers encounter the photographs and begin to formulate interpretations. The Id photo series features three symbolic photographs that explore Freud’s concept of personality.
Next, the audience experiences the video installation, which is intricately edited and blends various themes. A central character wearing a mask captivates viewers’ attention throughout the video. Finally, with the Superego art object, viewers are prompted to peer inside the mask, where they see only their own eyes. This moment is profoundly impactful as viewers realize their reflection within the artwork. This process shifts the narrative perspective from third person to first person, prompting the audience to reassess the installation from a personal standpoint.
This act of “looking inside” creates a pivotal moment in the dialogue between the audience and the artwork, fostering a deeper connection and understanding.
Conclusion:
Drawing on my background in storytelling and screenwriting, I aimed to incorporate a subtle yet profound element—narrative—into my artworks. This effort is deeply personal and evolves uniquely with each piece, making it difficult to establish a definitive and repeatable pattern for creating narrative in art. Therefore, I categorized internal and external narrative elements to encourage discussion and exploration among fellow artists.
In essence, after an artwork is created, it follows a path where audiences seek meaningful connections driven by their innate need to find significance in the world. This meaningful interaction happens through a subtle yet powerful form of communication—the narrative within the artwork, presented by the artist for audiences to uncover and interpret.
- Roland Barthes, Camera Lucida: Reflections on Photography (New York: Hill and Wang, 1981), 15.
- Jalāl ad-Dīn Muhammad Balkhī – Rumi (1207-1273)
- Barrett, Terry. Interpreting Art: Reflecting, Wondering, and Responding. New York: McGraw-Hill, 2003.
- Konečni, Vladimir J. “Emotion in Painting and Art Installations.” The American Journal of Psychology 128, no. 3 (2015): 305–22. https://doi.org/10.5406/amerjpsyc.128.3.0305.
- “Exploring Installation Art: A Guide to Modern Exhibitions.” Exhibition Globe. Accessed June 13, 2024. https://exhibitionglobe.com/installation-art-guide.
- ELISA CALDAROLA, On Experiencing Installation Art: Symposium: Installation Art, The Journal of Aesthetics and Art Criticism, Volume 78, Issue 3, June 2020, Pages 339–343, https://doi.org/10.1111/jaac.12734
- Boag, Simon. “Ego, Drives, and the Dynamics of Internal Objects.” *Frontiers in Psychology* 5 (2014): 666. https:/doi.org/10.3389/fpsyg.2014.00666.
- Freud, Sigmund. New Introductory Lectures on Psycho-Analysis. Translated by W.J.H. Sprott. New York: W.W. Norton & Company, 1933.
- Molavi, Jalal al-Din Mohammad. Kulliyat-e Shams-e Tabrizi. Section: Rubaiyat, Rubai No. 1759. Tehran: Amir Kabir Publishing Institute, 1376 [1997].
Bibliography:
- Barrett, Terry. Interpreting Art: Reflecting, Wondering, and Responding. New York: McGraw-Hill, 2003.
- Barthes, Roland. Camera Lucida: Reflections on Photography. New York: Hill and Wang, 1981.
- Boag, Simon. “Ego, Drives, and the Dynamics of Internal Objects.” Frontiers in Psychology 5 (2014): 666. https://doi.org/10.3389/fpsyg.2014.00666.
- ELISA CALDAROLA, On Experiencing Installation Art: Symposium: Installation Art, The Journal of Aesthetics and Art Criticism, Volume 78, Issue 3, June 2020, Pages 339–343, https://doi.org/10.1111/jaac.12734
- Freud, Sigmund. New Introductory Lectures on Psycho-Analysis. Translated by W.J.H. Sprott. New York: W.W. Norton & Company, 1933.
- Konečni, Vladimir J. “Emotion in Painting and Art Installations.” The American Journal of Psychology 128, no. 3 (2015): 305–22. https://doi.org/10.5406/amerjpsyc.128.3.0305.
- Molavi, Jalal al-Din Mohammad. Kulliyat-e Shams-e Tabrizi. Section: Rubaiyat, Rubai No. 1759. Tehran: Amir Kabir Publishing Institute, 1376 [1997].
- “Exploring Installation Art: A Guide to Modern Exhibitions.” Exhibition Globe. Accessed June 13, 2024. https://exhibitionglobe.com/installation-art-guide.