When artists are desperate to create a new fixed structured idea which can synthesised it’s (idea’s) building blocks and turn that into a whole coherent style in a series of work, is the time they actually make an exceptional work. And most of the time the idea never shines into the artist’s eye because he/she thinks its not good enough until it is perfectly done. Unfortunately because of this obsession Some really lose their their fate in life but never their faith to the structured rules they have mastered in their work. I always think if  vanghou and gogen have  appreciated their own style otherwise they might have intended to pursue better personal life instead of people witnessing their majesty of work and be quiet about it because he is not satisfied by his own work.  Language of aesthetics is not fully what we learn and at the same time it is not completely something we make on our own. It is about the mastery in coordinations among perceptual and motor skills. For example in drawing this  is In a way that motor controllers would provide the ability to transfer what is to be perceived on a piece of paper by breaking down the structural rules(objects) of the vision that has been constructed on a subject matter. This ability can be acquired by practicing the basic aesthetic rules in an interactive way that drawing the basic elements of composition becomes stasis in the subconscious of the work of art. Lines intrinsic value is measurable by one another in a way that thier total value determines the value and genre of the stage of a work. Dadaism has a stage, the stage that represents its manifest. It has a value based on the realm it creates among others at their time. This value is measurable by structural rules followed in every peace of Dada drawing you see. By this measure you are able to interpret a Dada masterpiece and start a new dialog in the domain of its manifestation. But why I brought out Dadaism is because of it’s fascinating coherence in constructing the manifestation of deconstruction in a way that makes every Dada work of art exceptional. What makes them exceptional is that the construction of aesthetics is fully understood and constructed in experience while being deconstructed in every Dada work of art. Some may say that MonaLisa with mustache is too obvious to be a good example but it actually is. That would be due to challenging aesthetics proportion of MonaLisa’s expression in face. These proportions would have forced the artist to mimic Davinchy’s knowledge of aesthetics before deconstructing its masterpiece. This honesty in deconstruction(being subconsciously aware of the basic elements of construction while deconstructing them) never pursued after Dadaism though the reflection of deconstruction has degraded but never fully negated. Since then not mastering in interactively deconstructing the structure in drawing and not having harmony in basic elements of composition is deeply confused with graceful deconstruction. But Ali the painter of this ugly painting is among those baffled artists whom is honest in another way about his ugly works. If you ask about them he actually convinces you that the subjects of his works are not the stimulus that recall beauty and fine art in any form. the athouritative figures and criminal scenes he mostly picks as the subjects of his work are empty of beauty and makes you thinks that he might just using a very intuitive medium for representing its idea. the dull faces of basiji and akhoondi figures you see in his paintings are drawn with absolute no knowledge of a perfect line and perspectives are kinda childish but as a matter of fact those subjects are against beauty and art in life and try to threiten the social stage of art. Indeed, why ali should bother his self for learning the basic parameters of a competent drawing as long as the subject of these drawings are lacking every intentional value of beauty. when im frustrated of all these uglynesses of human society, to the level that i can’t do anything about it. except try to calm myself by scrambling some lines on a peace of paper, why should i even pay attention to the basic element beauty. At this point i know my drawing skills are bad. My mind and my hands are not in harmony and i CANT DRAW MY IDEA WITH STRAIGHT LINES WHICH makes my drawing an incoherent week piece of work eventually. But as I do it more and more the lines would find their character and reflect my subject matter better and better. That’s because I did it interactively, I might have started by not being able to draw an straight line but as I measure my line’s constraint to what I’m trying to express I feel more confident about my lines and my motor skills for drawing them co-ordinates it self more with my perceptual skills (my interpretation of the lines i draw). as I do it more and more the final result of my work is more characterized with my idea and slowly finds its stage.  
this approach toward interactive drawing in order to deconstruct aesthetics for creating art is other that internalizing them in order to deconstructing elements of beauty. In another words this is other that learning classic drawing in order to use as a tool for manifesting its opposite message. classic drawing is a approach that starts constructing the elements of images from the periphery. you first have to figure out the lines that are consistent to the shape of the objects in the image and then attend to the elements that express other aspects of the components of image. this approach is in the opposite direction, it starts from inside of the objects of the drawing and by maintaining the overall weight of the image at every steps it mentions the idea of the subject matter slowly. In its most advanced way these type of skeching(skeching in simple) should be in a way that when ever your are told to stop the drawing your drawing should be the representative of the whole idea and the subject matter you are trying to express though it is not finished. Indeed, here the whole is not created first to be deconstructed but the deconstructed components are perceived and mentioned arbitrary in order construct the deconstructed again. As a result there is only the application of deconstructive elements rather than a manifestation of deconstruction. the elements of beauty are gone and substituted with element which have opposite intentional and propositional values. again the elements of beauty are reconstructed by preserving the very basic values of deconstruction. Sometimes these values you witness in recent works art are very intuitive like uglyness, decomposition, irrelevance and sometimes by being out of the line and context. but even at this era that seems garcfull deconstruction is forgotten and substituted with irrelevance and incompetency, mastering the aesthetics sometimes is enlightening even returning to it sometimes misleading. 

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