TABARO BENJAMIN NKERA
THERE IS NOT SUCH A THING AS PURE AESTHETICS WHEN IN APPLIED ART
AND DESIGN.
Aesthetics and applied art are two intertwined concepts that play a significant role in the fields of
art and design. Aesthetics refers to the study of beauty, taste, and the perception of art, while
applied art refers to the practice of using artistic principles and techniques to create functional
objects or designs. While aesthetics and applied art are often discussed as separate concepts, they
are intrinsically linked in practice. In this essay, we will explore the statement "There is no such
thing as pure aesthetics when it comes to applied art and design," drawing on insights from various
sources in the fields of design and art theory. We will examine how aesthetics and function interact
in applied art and design, and how these considerations shape the practice of designers and artists.
Through this exploration, we will gain a deeper understanding of the complex relationship between
aesthetics and function in the creation of art and design.
The statement "There is no such thing as pure aesthetics when it comes to applied art and design"
suggests that aesthetics cannot be isolated from function and practical considerations in these
fields. This viewpoint is supported by several sources in the fields of design and art theory.
One such source is the book "The Language of Post-Modern Architecture" by Charles Jencks. In
this book, Jencks argues that modernist architects and designers have tended to prioritize aesthetics
over function, resulting in sterile and impractical designs. He suggests that in postmodern
architecture and design, there is a greater emphasis on functionality and practicality, and aesthetics
are integrated into the overall design.
Another relevant source is the book "Designing for People" by Henry Dreyfuss. Dreyfuss was a
pioneer in the field of industrial design, and his book emphasizes the importance of designing for
the needs and experiences of users. He argues that aesthetics should be integrated with function,
and that the best designs are those that are both beautiful and useful.
In the field of art theory, the influential book "Art and Objecthood" by Michael Fried also supports
the idea that aesthetics cannot be separated from function in applied art. Fried argues that modernist
art has tended to prioritize the aesthetic experience over the physical object, resulting in works that
are divorced from their context and purpose. He suggests that art should be integrated with its
environment and function, and that the best art is that which is engaged with the world in a
meaningful way.
Some online sources also support the idea that aesthetics cannot be separated from function in
applied art and design. In an article on the website of the Industrial Designers Society of America,
designer Lance Hosey argues that "beauty and function are not separate entities but are mutually
reinforcing." He suggests that the best designs are those that are both beautiful and functional, and
that aesthetics and function should be integrated from the beginning of the design process.
The Different But One 26 Exhibition, currently hosted in the Makerere Art Gallery at MTSIFA,
showcases a diverse range of art forms, including paintings, sculptures, installations, and ceramics.
Each artwork on display offers a unique perspective on the themes of the exhibition, which seeks
to explore the diverse cultural and artistic traditions of Uganda and beyond. Through a careful
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examination of several artworks in the exhibition, including Donald's mono print titled "Childhood
Memories," Joan's paper beads piece titled "The Cross," Francis's acrylic on canvas painting titled
"Rural Market Day," Stephen's charcoal drawing titled "The Buffalo," Lilian's abstract
woodcarving, and Raymond's installation titled "Black Smith," it is clear that the concept of pure
aesthetics is not easily separable from the practical and functional aspects of applied art and design.
Donald's mono print titled "Childhood Memories" offers a vibrant and playful depiction of children
playing in front of a hat. The print is both aesthetically pleasing and evocative, capturing the joy
and innocence of childhood in a colorful and engaging way. However, the print is also practical,
serving as a decorative piece that can be hung on a wall or displayed in a frame. Thus, the artwork
embodies the interplay between aesthetics and function that is characteristic of applied art and
design.
Childhood Memories, Donald Nantagya, Mono print
Joan's paper beads piece titled "The Cross" is a striking example of how aesthetics can be derived
from utilitarian objects. The piece features a series of delicate paper beads, arranged in the shape
of a cross and attached on a wall. The beads are crafted from a variety of materials, probably
including recycled newspaper, magazine pages, and colorful scraps of paper. Through this piece,
Joan demonstrates how practical objects can be transformed into aesthetically pleasing works of
art, while still retaining their functional purpose or carrying out an important process of recycling.
The Cross, Joan Nanfuka, Paper beads
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Francis's acrylic on canvas painting titled "Rural Market Day" offers an evocative depiction of a
bustling marketplace. The painting is visually appealing and skillfully executed, with vivid colors
and attention to detail. However, the painting is also functional in that it serves as a representation
of a specific time and place, capturing the spirit and vitality of rural life in Uganda.
Rural Market Day, Francis Ifee, Acrylic on
Canvas
Stephen's charcoal drawing titled "The Buffalo" is a stunning example of how aesthetic beauty can
be derived from a realistic representation of an object. The drawing depicts a buffalo in intricate
detail, capturing the texture of its skin, horns and the intensity of its gaze. The drawing is both
aesthetically pleasing and functional, serving as a representation of an important animal in
Ugandan culture and history.
The Bufallo, Stephen Gwoktcho,
Charcoal
Lilian's abstract woodcarving is a testament to the ways in which aesthetics can be derived from
unconventional forms and materials. The carving is a striking and unique piece, with bold shapes
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and intricate patterns. The piece is both aesthetically pleasing and functional, serving as a
decorative object that can be displayed in a variety of settings.
Wood carving by Lilian Nabulime
Supplementary, Raymond's installation titled "Black Smith" consists of hand-forged tools like a
spear, axe, and sickle, arranged in a minimalist display. The installation is both visually appealing
and functional, showcasing the beauty and practicality of traditional Ugandan craftsmanship.
Black Smith, Raymond Nsereko, installation
In conclusion, In addition to the several sources in the fields of design and art theory that support
the idea that aesthetics cannot be separated from function in applied art and design, the Different
But One 26 Exhibition also offers a compelling demonstration of the interplay between aesthetics
and function in applied art and design. Through a careful examination of several artworks in the
exhibition, it is clear that the concept of pure aesthetics is not easily separable from the practical
and functional aspects of applied art and design. This viewpoint emphasizes the importance of
designing for the needs and experiences of users, and integrating aesthetics with function to create
designs that are both beautiful and useful.
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