YAPIBOZUM: BEDENİN BİÇİMSEL PARÇALANIŞI VE ALGISAL DÖNÜŞÜMÜ

Abstract

Postmodern art practice has been shaped by radically questioning traditional aesthetic understandings and the fixed structures of form and meaning. The core of this theoretical investigation is driven by the deconstructive framework drawn from Jacques Derrida's philosophy. This concept aims to analyze established systems of meaning based on binary oppositions (such as good/evil, male/female, whole/part) and to subvert these hierarchical structures. Historically, the body has predominantly been represented as an idealized and holistic form with a predetermined meaning. However, with the Postmodern era, these uniform and authoritarian forms of representation began to lose their validity. The deconstructive approach strips the body of the social, cultural, and gender codes inscribed upon it, transforming it into a multi-layered, fragmented, and continuously reinterpretable domain of meaning production. The reinterpretation of the body form through a deconstructive perspective focuses on the potential that ceramic material carries as both a physical medium and a conceptual form of expression in contemporary art, in the context of its relationship with qualities such as fragility, transformation, and fragmentation. This study, by utilizing the possibilities offered by the material character of ceramics and transforming the medium into a conceptual means of expression, situates the fracturing of idealized female and body representations beyond a mere formal aesthetic choice, establishing it instead as a profound critical force against societal norms and semantic rigidity. The research provides a theoretical foundation for personal ceramic artworks produced with a perspective that handles deconstruction beyond a mere analytical tool, adopting it instead as a strategy of fragmentation and iv reconstruction. These artworks, embodied through the metaphors of negative form and trace, allow meaning to be reproduced collaboratively with the viewer.