Different approaches to influences of volume in fiber art

The Exhibition of fiber-based works of art originated from tapestry called pictorial weaving in the 1st Lausanne Tapestry Biennale in Switzerland in 1962 caused fiber art to be established with the volume concept in fiber art first appearing thanks to relief effects on structural surfaces. The dynamic and creative process started in 20th century and continued with the same pace in 1960's with every modifiable flexible material, technique and space. Moreover, ideas, concepts and volume became individual elements to shape works of art and changes experienced in artistic fields emerged simultaneously with technology -based revolutions. Expansion of mass media and elimination of national borders via informatics made every corner on earth accessible due to which fiber art experienced a process of endless sharing and innovation with experience of new approaches and variations. Increased interests of different disciplines in one another changed introvert structures of arts, designing, engineering and sciences which created mentalities in different-innovative material and technique thanks to conceptual, formal and structural developments and interactions in all arts. Fiber art was introduced to concept of volume in interdisciplinary studies formed by different intertwined art disciplines accompanied by modern art understanding. Fiber art turned into a process of limitless questioning to create voluminous works of art under the influence of parallel developments of arts of painting and architecture observable from the beginning and its interaction with sculpture both in material and thought in 20th century. New developments in traditional or known material and techniques reinterpreted in an innovative way using extra ordinary materials created new concepts and new approaches, which resulted in fiber artists looking for their unique artistic languages. Emancipation of artists from looms who searched for artistic exploration using their creative and aesthetical powers generated a new space of freedom. Addition of the influence of new quests from material, techniques and personal intuitions to fibrous material pieces caused fiber artists to create voluminous works of art. Concentrating on new techniques material and concepts other than possibilities of loom, artists attributed conceptual meanings to their works created by freedom unique to sculptors and able to erect themselves hanging from ceiling to floor and be walked around and introduced them to audience. The thesis titled "Different Approaches to Influences of Volume in Fiber Art" focuses on interactions of parameters of volume to fiber art and associated processes based on variations in material and techniques used. To determine what are the factors to influence formation of volume and develop a perspective for using volume in fiber art, the study examines the process of development for volume in fiber art as an independent discipline combining textile tradition of centuries with current innovations and high-tech developments. Attributable to voluminous works in fiber art using means of new technologies, textile crafts and related fibers, its interaction with other contemporary movements, meanings and influences were also studied. Works of national and international artists who enabled volume to be formed, developed and sustained through fiber art were analyzed and interpreted to try to determine place of use of volume in the present study. Formed and included in the last section, felt- made statutes by which volume was evidently emphasized for focusing on the subject of the study were planned to be of service to a process of commenting traditional values conceptually and transformation of the conventional into a current field of expression was designed rather than reexhibition of old values(felt) via designing principles of sculpture and textile material. Among the targets of search for visual perception and innovation based on sculptural discipline in combination of interdisciplinary material- technique and knowledge (theory and practice) is the last shape of wool in the form of statute used in the works from the disciplinary approach created by a new expression, concept and perception in the relationship between textile and sculpture.