EXAMINATION OF BERNARD PRAS’ WORKS IN THE CONTEXT OF ANAMORPHOSIS, INTERSEMIOTIC, AND DECONSTRUCTION

Abstract

With the rise of the production and consumption culture in the 19th century, ready-made objects and subsequently the waste objects that were formed existed in the field of art as well as in all areas of life. Many artists have included such objects in their works of art with different methods for their own purposes. Bernard Pras, one of these artists, has made a name for himself around the world with the objects he uses and his different styles in anamorphic structure. Pras re-creates important masterpieces of art history using waste or found objects. Artists have rehandled the whole or part of someone else's work in their works, using their own unique techniques, both as an educational tool and as a form of individual expression. It is possible to see the method called as intersemiotic, in the works of Pras.

In this article it is aimed to define the theoretical framework of Pras’ s art by explaining the techniques used by him in the artistic production process and the way he reproduces the works of other artists starting from the problem of what is the aesthetic and technical style of the works of the French artist Bernard Pras? In the study, Bernard Pras's use of the anamorphosis method is explained, and then the ways in which the data of intersemiotics and deconstruction exist in his works are revealed.

At first glance, the French artist's anamorphic compositions, which he arranged to create an illusion by using waste or found objects, draw attention. In Bernard Pras's works, it has been observed that, in addition to anamorphic design features, the reproduction of works of art that have become a part of art history with intersemiotic exchanges is one of the determining elements of his aesthetic attitude. However, under the surface, traces of the deconstruction put forward by Jacques Derrida were also found in the works of the artist.