The current research entitled (The abstract composition of Alberto Burri's and Mohammad Al-Kinani's Works - a comparative study) The nature of the concept of abstract form and the mechanism of work and manifestation in techniques and artistic experiments and the detection of the institutional engines pressing in the works of the artist Alberto Bori and Muhammad Al-Kinani, this topic illustrates how to move in formal photography between abstract formal vocabulary that varies in contemporary artistic experiences. It included four chapters, in the first chapter presents the problem of research, which centered on the study of the abstract formal context in the formation of postmodernism.. The two artists worked on multiple levels, from recalling forms in their original contexts to subject matter and content that is out of the ordinary.
The composition took wide dimensions and different directions, it is the most important modern linguistic term used in different concepts, "sometimes they call it the system that explains the ability of the whole to consist of parts solidarity, and other times they call it the whole in which elements of a specific nature are organized, and from here they end up with different results." [1] moreover, we find that "the word composition is a noun and not a verb. When we use a noun, we always tend to search for essence, and [2], thus we end up treating composition as something, not as a formation of an action that has no separate reality from the human beings who do and who give a present characteristic to the composition of language from their speech or writing, to the composition of a myth in their paths or beliefs." [3]. On the other hand, we find that (composition) and all directions, is a systematic scientific attempt to study phenomena in general, and human phenomena in particular, it is basically a scientific theory that confirms the subconscious relations and the role of cognitive construction and this is confirmed by (Albert Sobol) and what came out (Edith Kierzwell) after them composition: "A system of subconscious relationships perceived according to the principle of absolute priority of the whole over the parts has its own laws of neutrality [4], so that no element of the composition can be understood outside of the situation it occupies within that composition, i.e. The overall overall system. It is a pattern characterized by internal unity and self-orderliness in such a way that any change in relations leads to a change in the pattern itself."[5]
Working Methods
Due to the capacity of the research community and the inability to statistically limit its numbers, for the long period of time from (2020-1970) in America and Iraq. The researcher has seen many photographers of artworks in books and specialized art magazines, as well as the Internet and direct contact with the artist (Muhammad Al-Kinani), the researcher found nearly (100) works belonging to the current study and benefit from them to cover the goal of the research.
The research sample was selected intentionally, and its number reached (six) artistic models, with (three) main models for each artist and others supporting for a total of ( 24 ) artistic models.
Justifications for sample selection:
Figure 1: Research Sample Analysis Model (1)
Artist Name: Alberto Bori Work Name: Black White & Bag Production Date: 1954 Material: Various Materials Size: 150 x 100cm Belonging: Special Collectibles
Research Tool
In order to achieve the goal of research and reveal the composition of abstraction in the works of (Alberto Borri) and (Muhammad Al-Kinani) in contemporary formation in America and Iraq, the researcher relied on the indicators concluded by the theoretical framework of the research as well as the analysis system and methodology, as a tool for current research.
Analysis System
Visual Description
Alberto appears to us in this work, which is predominantly white, black and brown, in the form of several geometric parts with multiple levels in a superimposed building, from the top on the right side a semi-rectangular piece in brown and next to it on the left side a square in white and at the bottom of this part in the middle of the work is a white rectangle and in the middle of it is an inverted semi-triangle piece, and in the lower part of the right the brown box returns to a degree lighter than the upper part and the part The left is unfortunately a black piece with gray scattering and a red spot. There is a vertical line that divides the work into two halves due to opposite geometric shapes.
Analysis of Configuration Systems
The general composition is characterized by a clear design geometric presence where the square and rectangle work through a series of shapes has given it formative isolation, there is a desire to show the color surfaces abstract from condensation vocabulary, where (Alberto) deliberately focused on the net areas, which enhances the craft schematic nature of the design of the formation, and to confirm the depth of the layers, and the two-dimensional effect of the paint, through monochrome, this case enhances the attempts made by (Alberto) with the same color tones within the shape Geometric without diagnosis are just abstract forms and color relationships. The abstract geometric composition of the artist is shown in other works in Figure (1-a).
Figure 2: Model (2)
Artist Name: Alberto Bori Business Name: Combustion Production Date: 1970 Material: Burnt plastic on cardboard Size: 23,7 x 16 cm Belonging: Special Collections
Optical Surface Demonstration Techniques
He chose (Alberto) to strip the work through the material alien to the genre of art, as he used in the model the cloth fixed with glue on the wooden surface and also added building materials represented by sand scattered in some parts and also cardboard, these physical metaphors gave the form its abstract construction through geometric compositions with a regular rhythm.
Compressive References
In order to emphasize the idea of dismantling the work through iconic signs intended to move the effectiveness of time to return to the time of wars that he contemporary, which led him to use black and white color in most of his works to be a witness to the dimensions and references of war. They appear in another model, as in Figure (1-b), where signs work, according to their symbolic connotations, to crown unspecified metaphorical perceptions, within their abstract chromatic and structural context.
The idea of abstraction composition in artwork
The abstract formal construction in this model appears through geometric compositions with their chromatic consistency, and the effectiveness of different materials, which reflect a diversity in works of art, penetrates the boundaries of the visual surface, and through the philosophy of consumption, abandons its diagnostic character towards abstraction, according to new proposals and contexts.
As the relative line works according to instantaneous combinations, in which the imaginary creative act is rooted, semantics continue and through partial and disjointed units. In this sense, a sense of transformation grows, and in the context of the spaces of abstract systems of formation, the possibilities overlap, multiply, and disintegrate through the chain of relative interpretations.
We find the abstract shape in another model of the artist, figure (1-c), which consists of small and large squares and elongations with a black and white color character.
Accordingly, the formation is embodied through a series of assumptions and processes, which are woven by the reader's horizon, regarding the manifestations of line, shape and blocks, and through abstract vocabulary in the formation itself, vis-à-vis the formation and within abstract constructive non-naturalization spaces.
Visual Description
The work appears at (Alberto) as a structural system in the form of a vertical rectangle distributed over its area a body that appears in the form of successive divisions in which the horizontal parts intersect, from the top a white rectangle followed in the middle by a large square in the color of the ocher and in the center a body resembling a hole (hole) in black that seems to be rushed to some degree into the textile surface of the design. And at the bottom is a white rectangle.
Analysis of Configuration Systems
Alberto used abstract geometric cuts to produce his visual compositions, including white bands and corrugated dens from the middle and edges, with regular geometric measurements, where widening at times and receding at other times. As well as the method of formal reduction and color flattening, which is close to the engineering drawings of (Mark Rothko). In the design of the (model), the square geometric shape takes absolute predominance in terms of composition in the construction of the technical system.
The geometric units in the formation work on the problem of their empty and full buildings on the optical surface, thus helping the material used to show the abstract composition of the implemented forms, regarding the openness formed by optical illusion and activated in its middle part, which seems to have been rushed inward.
The varying distances from one to the other create the illusion of three-dimensional space. Also, the vibrancy of its colors contributed to supporting the optical illusion in the advanced geometric shape, which surrounded the retina for immediate response to movement by the action of the achievement material.
The rhythm formed by the movement of the geometric design particles (square and rectangular) also worked to correlate with the pure abstract semantic dimension, which corresponds to the geometric visual vectors reflected by the design, as appeared in another model Figure (2-a), in which the abstract shape appears through successive geometric surfaces and based on optical illusion through the abstract center shape.
Optical Surface Demonstration Techniques
The mechanism of formation, due to the multiplicity of its visual facets, corresponds to the abstract form achieved cognitively with the help of the material used, represented by plastic, which the artist relied on the technique of heartburn, leaving a trace of the dissolved substance on the surface of the cardboard. As the implementation feature practiced by the investigation of the formation out of the ordinary, tends towards the requirements of a mechanism that moves outside its traditional system and desalination to the abstract formal construction, through engineering uses, and through its design levels, the act of visual transitions is achieved by superimposing them in the abstract direction, borrowing the impact of the formation and the effectiveness of the moving ocean space from the features of geometric and design shapes.
Compressive References
This work goes back to the political reference represented by the war that he lived and participated in the artist, as he saw the bodies that burn by the fires of war, which led him to use plastic and burn it to serve as melted bodies due to burning them with fire in their abstract form output, as appeared in another model Figure (2-b) Figure (2-c).
The Idea of Abstraction Composition in Artwork
The abstract composition in this model is shown through geometric formations aided by the techniques used that showed the optical surface deeply sunken. Abstract construction is related to the type of existing relationship determined by the visual perceptions of formation. Where the activated elements with diffusion, diversity, repetition and technical mechanical references work in connection with production and its consumer requirements with a series of fissions and ruptures that are at the heart of the receding and fragmentation, due to the visual effect, which in turn achieves the abstract final formation.
A rectangular panel dominated by black color in its degrees, represented by three rows of geometric shapes, from the top a rectangular strip in gray, and below it four squares of varying sizes and gradient colors, and the last square from the left side of the work contained a slit in the middle such as the sign (+), while the last row is five vertical rectangular shapes varying in size and color. Alberto works on the abstract and flat geometric shape in showing the work. This technique has appeared in other models with the same purpose and by means of the assembly materials on the optical surface of the work, and the general atmosphere of the same painting in another model Figure (3-a).
Figure 3: Model (3)
Artist Name: Alberto Bori Business Name: Black M1 Production Date: 1988 Material: Acrylic, Cork, Burlap on wood surface Size: 202 x 152 cm Belonging: Special Collections Visual Description
Analysis of Configuration Systems
Despite the simplicity of the subject, which was limited to showing only rigid geometric surfaces, the artist was able to add the exotic composition through the materials used that depicted the scene as well as the element of black color in its degrees. The compositions that Alberto created in his works are not only on the surface level of the painting, but he directed them with a mixture of optical illusions.
Optical Surface Demonstration Techniques
Contemporary techniques varied with the diversity of contents carried by the artist in his achievements, and this is provided by industrial materials, which have become an essential element in most works of art. The artist used cork material, which was installed on the wood plank, as well as used burlap (coarse fabric to the touch) in some parts through fixing it with glue, as the work gave its abstract structural character through various materials with the use of acrylic colors in degrees between dark black, light and lead, to give the abstract geometric composition of the content. These materials, uniform color and geometric shape appeared in another model, Figure (3-b) Figure (3-c).
Compressive references:
The model is due to social references that affected the human being and was represented through the element of color, due to the wars of death witnessed by the life of (Alberto), so the abstract formal outputs were the element that helps to bring out the repressed and its appearance on the surface of the painting.
The Idea of Abstraction Composition in Artwork
Far from the familiar, we see that Alberto has shown the abstract form through his works in association with him. Bthe type of existing relationship determined by the visual perceptions of the modulation Contemporary which he added to the visual field of art due to the dominance of the political, psychological and social pressure, which led him to produce works that represent the cases of the complex after World War II and helped by ready-made industrial materials to be sharp shapes represented by barren surfaces of one color expressing sadness as they appeared in the sample model.
Visual Description
It shows us ( muhammad Al-Kinani) in the achievement represented by a rectangle in a perpendicular form, which is predominantly colored Light green at the top of the painting and white color at the bottom of it and in the form of geometric pieces squares and rectangles, the painting consists of Several geometric parts with multiple levels in a superimposed composition, and there is a figure of a person whose body details are stripped with an inclined head in the middle of the work And a rectangular body in black, the achievement has adjacent geometric planes and sometimes overlapping. At the bottom of the painting we find the writings on the paper used, as well as the head and in red.
Figure 4: Model (4)
Artist Name: Mohammed Al-Kinani Business Name: Ras Salad Production date: 2016 Material: Various materials and acrylic Size: 80 ×100 cm Affiliation: Agence France-Pierce
Analysis of Configuration Systems
The general composition is characterized by a clear design geometric presence, where the line works through a series of shapes, which enhances the craft schematic nature of the design of the formation, and to emphasize the depth of the layers, and the two-dimensional effect of the paint, through the monochromatic color that reminds us of his graphic works, Muhammad Al-Kinani chose the abstract human body and depicted in a geometric way, in order to emphasize the idea of dismantling it with iconic spaces intended to move the effectiveness of time. We find these configurations in another panel Figure (4-a).
Optical Surface Demonstration Techniques
Use (Muhammad Al-Kinani) in this painting pluralism and strangeness of formation, as the effectiveness of the various materials of a popular consumer nature, which reflects the diversity of genders, and as its roots seem to extend in Dadaism, to penetrate the boundaries of the visual surface, and through the philosophy of consumption abandons its naturalization character, according to new proposals and contexts identified by Al-Kinani, including power and its domination over man and the ruling head, which contributes to the establishment and formulation of the overlap of races of the modern raw world, which is the optimal use that was baptized by (Jasper Jones) in Building his artistic formation by sticking consumables (collage) that contains writings through different technical means. Al-Kinani has strived to clothe his artistic description with a technique that exudes all postmodern portables. We find the use of printed writings in another work, figure (4-b).
Compressive References
The artist described power through its tilted head, which represents the social reference, closer to the means of commercial advertising. Besides, the advertising mechanism moves around the distinctive signs in the text, in search of a moving and diverse consumption mechanism. Fragmented biblical texts work with signs and according to their symbolic connotations, to crown unspecified metaphorical perceptions, within their abstract chromatic and structural context and their association with the image of the standing person., and its presence in the general composition, as well as the composition of the composition of the abstract person with a gradient color down to deep black. He was able to pursue the pattern within the trends of postmodern arts, from which he draws many of the adoption of her plastic consciousness to re-cast it with a skilled imprint that has the ability to transform what is universal to be closer to local taste. The black and white geometric configuration is found in another panel, figure (4-c).
The Idea of Abstraction Composition in Artwork
We find that the description he has was closer to the Westernization expressed to the explanatory narrative, and this requires uniqueness in reading and deciphering, the aesthetic dimension of technical, psychological and cultural is clear to him in this painting, and at the same time has the ability to make what is local as if a work hoarded with meanings with a cosmic horizon, and those are remnants of the impact of his conscious reading of the philosophy and history of art in general and plastic in particular, and we see the abstract shape appears in the model in terms of geometric shapes, the person abstract of its details, and the collage printed with writings scattered on the parts. It is as if the artist possessed the obsession with expressive communication through abstract form, or human descriptive research to take from the material (ready-made) a semantic language of expression that produces connotations that are not described with words, but with suggestions that generate mental images and thought.
Figure 5: Model (5)
Artist Name: Mohammed Al-Kinani Business Name: Wall Production Date: 2015 Material: Various Materials Size: 50 ×180 cm Affiliation: Musée Mets, Paris
Figure 6: Model (6)
Artist Name: Mohammed Al-Kinani Work Name: (War Day) (Peace Day)History Production: 2015 Material: Wood, Paper, Plastic Size: 80X200 cmReturnee: Museum of Modern Art - Iraq
Visual Description
This work is a model of the style that characterized the work of (Mohammed Al-Kinani), as he carried out many works in the same style with some simple treatments that occur in color, size and area, this work was carried out in a longitudinal rectangle that overcame its elongation shape as it relied on giving the largest size to the longitudinal area at the expense of width and his work This is a harmonious color movement rhythms with areas dominated by gray colors divided and overlapping and adjacent to what contradicts them in the circle of colors.
Analysis of Configuration Systems
That the artwork is formed by high color terrain distributed on the optical surface, if the circle occupies the upper space repeatedly followed by irregularly sized squares, he has taken care of the structural elements through his treatments of material and spaces (Muhammad Al-Kinani) intends the aesthetic composition and the contemporary formative composition, which makes him search for an inspector for a material that affects his sense more than others, has tangible relationships that follow its impact in the surroundings in which he lives, and his abundance pushes him to own it, and then to embody it as a given, It can be transformed and changed to penetrate into the depths of his sense in order to show the essence of the intended subject that he seeks to convey to others. This is mainly related to the artist's psyche from the inside and to his own abilities to formulate and organize. These configurations of materials, geometric circles and layers protruding from the surface are shown in another work (Figure 5-a).
Optical Surface Demonstration Techniques
The painting has been implemented with areas of various materials and layers in a structural form distributed on the painting of materials, number and raw materials, some of which are manufactured and consumed (gypsum, ganfas, reinforced cardboard) The style of work and its style implemented with collage technology, which glued the materials to create the optical surface that made it with a rough texture, using adhesives and then treated the surface with acrylic colors using mono and secondary colors, based on the exclusion of sharp contrasts, which leads as a result to a regular rhythm and homogeneous color harmony, in the form of Layers like camouflaged geometric blocks, as he tried to liken the work to the real wall by using some technical techniques that helped him to achieve his goal, if we observe carefully in the work, we find that he has used the technique of color treatment with a knife in a color withdrawal method after placing a dense paste and pulling it with a knife to form some grooves between colors, and also treated the surface with areas of color (off white)) technique Alklizenk in a light color to calm the surface and intensify, and added some lines determined according to a directional sequence, which is an attempt to enhance the movement of the surface and give it the value of the Ataqa, also such as Kenani the shape of the chair in the work in the form of linear boundaries (out line) just a color transforming his geometric system into a system added to him features of abstract form where the levels of performance emerge through the impact of the material that was placed on the surface, as it appears in its configurations to the abstract pattern as a composition for artwork. These techniques are also shown in Figure 5b and 5c.
Compressive References
We find that the work is a self-intentional act and the actual engine that the artist wanted to convey to the recipient the ongoing conflict between the electoral districts and the political gasp for positions by politicians who distorted the walls of cities, and the weight of the implemented techniques and the addition that succeeded in absorbing and translating the power of output.
The Idea of Abstraction Composition in Artwork
The features of abstraction appear in this work in terms of geometric shapes that were added through colors or additions such as circles, squares and lines, as well as the shape of the chair that appears in the middle in the form of simplified lines and abstract of details, and the collage represented by cardboard that gave the scene abstract evidence through texture.
Visual Description
The work is rectangular in shape and has two sides that can be moved as it rotates around itself by installing it with a frame and this frame is also from the bottom represents the base on which the work is based in (white) to harmonize with the color of one of the faces of the work, which was also dominated by the color (white) consisting of the top with a rectangular cardboard in a vertical form with writings that were fixed from the ends with screws and written at the end in (blue) and in English a sentence (Day of peace)) (Peace Day) and interspersed from the bottom (eight) short vertical strips free of color (white) and to the bottom there are (four) squares and below (five) circular pieces of plastic protruding from the surface and to the bottom there are vertical lines horizontally and below them (three) large circles (white) on a part free of color (white), the second side is in darker colors starting from (brown) to gradient towards the color (lead) dark and put a piece of cardboard fixed with nails from the ends containing writings, numbers and geometric lines At the bottom, the phrase "Day of War" was written in English in (white), and down in the middle, a piece of cloth was placed horizontally, on which a piece of circular cardboard was installed, protruding from the surface in the center of the work and on both sides of it were two small circles (lead) color, and to the bottom the wooden surface appeared, and a geometric circular shape was drawn on the side, and on the side was installed a square piece of cardboard, and at the bottom was an empty surface of (black).
Analysis of Configuration Systems
The work was formed vertically and in the face that bears the name of a day of peace, such as in the form of one piece, while the second side was the formal units of a geometric arrangement divided into three sections, the abstract formative system of vocabulary was designed in a coordinated manner.
Optical Surface Demonstration Techniques
The artist's technique on the work is shown by the surface texture of the various materials that gave him a difference and variation in surface appearances according to the nature of each material. The artist used a set of ready-made industrial materials, transforming them from their gender far from the artistic template to the genre of art represented by (wood, plastic, cardboard, cloth, nails, and thick circular pieces) to form an installation work with an abstract surface of various materials. In another work, Figure (6-A) uses raw materials represented by gypsum material that is used for construction and burlap, which is a type of cloth that has high durability, as well as paper and printing inks, as he collected all these materials on the surface of the fabric, distributing these materials and making them shapes with color and geometric relationships represented from the top with a brush stroke in the color (brown) and below placed (seven) circles prominent from the surface and to the bottom a set of lines and the shape of the triangle by inks and in (brown) and (black) on Surface (white) color.
Compressive References
The work has a political reference because it presents the idea of the different faces of the days that pass in Iraq, sometimes a day of war and sometimes a day of peace.
The Idea of the Composition of Abstraction in the Work of Art
Mohammed Al-Kinani was able to exploit ready-made materials such as newsprint and cardboard (cardboard) to design abstract forms of different templates, the contemporary art director has become more open and clear exhibitions open presentation, and the construction shows the abstract form through geometric assimilations, mixed materials and colors thatare dominated by (red) and (black) and the model is interspersed with numbers, writings and abstract lines. These abstract and formative compositions are also shown in Figure (6-b) and (6-c).
The artist used a number of ready-made materials, as he combined plastic, cardboard, cloth, burlap, gypsum, clothes, pasta, inks, acrylic colors, bag papers and food papers, making them models of art forms with different conceptual compositions that the recipient can move, as in the model.
Based on the results of the research, the researcher reached some conclusions.
Table 1: Comparison Table
| T | The composition of abstraction according to Alberto Bori | T | The composition of abstraction according to Muhammad al-Kinani |
| 1 | The geometric shapes that illustrated the abstraction appeared in Alberto's experiment. | 1 | Abstract geometric shapes are also present in the Kenani experiment. |
| 2 | The use of various materials such as cardboard, acrylic, glue, wood and collages in his abstract works. | 2 | Various materials were also used in his abstract works. |
| 3 | Iconographic vocabulary did not appear in his works. | 3 | Abstract vocabulary such as the body and chair appeared as an element to communicate the content. |
| 4 | Holes appeared in his works. | 4 | Holes also appeared in his works. |
| 5 | His abstract works came about by wars and the psychological state he lived. | 5 | His abstract works were shaped by the political and social situation. |
| 6 | The use of plastic material appeared with the technique of incineration. | 6 | They are not used. |
| 7 | Black and white appeared as a dominant feature in most of his works. | 7 | Also appeared black and white. |
| 8 | Large measurements of business. | 8 | His works are also in large measurements. |
Recommendations
The researcher recommends the need to reveal and investigate other works of the artists and the extent to which these works are related to their plastic experience, as well as studying the intellectual aspect and its projections in the painting as well as their aesthetic philosophy, and activating the lesson of free applications with experimental workshops open to students of colleges and institutes of fine arts.
Recommendations
To complement the requirements of the current research, the researcher proposes similar titles with regard to other technical angles as follows:
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