How Does Colors For Backgrounds in Artworks , Reflect the Concept of Intertextuality ?

The choices of colors for backgrounds of our artworks also reflect the concept of intertextuality. The red color is often associated with bravery, inspiration due to previous works by other artists who have used red color for the same purpose. This provides relevance to my artwork as viewers can immediately recognize the theme of my message due to their previous association of red color with bravery and inspiration. Campau, on the other hand, uses dark colors and empty spaces for the background. The lonely and scary theme with use of dark and empty surroundings has been carried out by previous artists as well. It gives a feeling of loneliness or perhaps even despair in Campau’s artwork. This may be related to his personal life. The use of such colors heightens people’s understanding of the artwork as they can immediately recognize the artist’s motivation when they see the work or perhaps even see what the artist is going through when he made the artwork. Thus, the choice of colors and backgrounds also reflect the “mutual acceptance” and “mutual reflection” as proposed by Bakhtin. 

             The two artworks illustrate the principle of intertextuality as observed in everyday life. It illustrates that no artwork can be considered to be completely original. Any artist is inspired to some extent from other works. However, it is how the artist manifests those inspirations determines his originality. This manifestation depends upon the social and cultural background of the artist. While my artwork shows passion and ambition, Campau’s artwork shows despair and gloom. Other aspects of the artworks like color, background, text size and layout are also inspired from previous works. This does not compromise with the principles of ‘originality’ but only reflect our own unique combination of the multiple voices which influence us. After all, intertextuality is what provides us with the closely shared love and values that we cherish.

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References

Agger, G. (1999). Intertextuality Revisited: Dialogues and Negotiations in Media Studies. Canadian Journal of Aesthetics, Vol. 4 .

Bakhtin, M. (1981). The Dialogic Imagination: Four Essays. Austin: University of Texas Press.

Briggs, C., & Bauman, R. (1992). Genre, Intertextuality and Social Power. Journal of Linguistic Anthropology, Vol. 2 (2) , 131-172.

Culler, J. (2004). The Pursuit of Signs - "Presupposition and Intertextuality". Retrieved August 3, 2010, from Columbia University Web site: http://www.columbia.edu/itc/visualarts/r4100/inter.html

Kristeva, J. (2000). Desire in Language: A Semiotic Approach to Literature and Art. New York: Columbia University Press.