1985 "portre
I"
The
quotation of "I have been dealing with the problems of puttin the
abstract world which has been established in minds into an objective
shape with the power which a human being holds in materializing things"
has been an explanation of the direction of my activitics in Art or
the specification of my desire in my field of interest. This work and
this introduction will give the proportioned explanation of my
pictures.
The
thing of contact which is formed beyond our conscious of my estimated
conceptive world has not existed on the whole. This imaginative world
which has been constructed under constructive activities and turned to
reality within the subjective borders emerges in an abstract shape.
What
provides the idea of the artistic ground in this set-up abstract world?
Does the outside extinction of the clarity on the whole restrain the
ground idea? Answer to these questions are searched in this work.
1986
Something
is enclosed as an object in every mental incident; the tendency to
this object is supplied by the capability of the man to materialize
things. On a ground, dependent on object, the visibiliy and the
audibility of the objects contribute the idea of ground. The
discrepancy among the transportables that this set-up ground carries
is an alien appearance, or as I have often mentioned, a contrast
appearance of the transportables. The visibility of the transportables
on ground, the classification and the declination of this visibility
is the expression of an artist.
The
search for an obvious space between the extreme points of the conrast,
looking for decisiveness and fitness have approached me to a drawing
structure. The method I have grown to see the style has taken over the
duty of definiteness. Although every portion of my pictures is linked
to the whole unity tightly, they trend to have a kind of independence.
This independence is not a vagabondage. The individual portions are
reliable on the whole, but not lost the touch of independence. So, it
makes the viewer see the picture by joining one piece onto another,
passing from one portion to the other one. This is a cooperative work
of the combination of the independent pieces.
1987
"çiçekli sütun"
The
clarity of my pictures clings to the visibility of the shapes. Yet,
the vagueness is not contributed to the outlook of the individual, but
to the meaning of the combination on the whole unit. There is no
contact in the whole combination and it is not expected to be one. The
clarity in the shapes is received by enlarging the contrast. The
shapes enter nature in piece by piece lacking wholeness just as they
do in conception. These elements isolated from nature are going to be
conceptive abstract existence. The contact of the combinations in both
positions lies in the thought.
In
my pictures, the contrast of colour, species and fullness becomes
stronger when the contrast in respect-emerges. The cotrast in respect
of horizantal and vertical contrasts. Even if there is an opposite of
each direction, it is not made balanced in my pictures. It is often
required to have one direction (respect) more obvious than the others.
Horizantals and verticals do not exist only in respect, but they also
have taken the leading parts.
1989
In
placing arrangement, when the cotrast happen to cling to the sides,
one gets the impression that the picture is made within the size of
the frome, instead the picture being an outsider in its frame.
Some
of my outstanding picture among the others I have made at the end of
my work fixing the respect and the field of my Artistic activities are
explained by their own names is in a proportioned style.
1994
"85'li merkez"
We
know that any process or a part of a construction or arrangement can
not be fixed beforehand. Up to now, I have tried to write down my
artistic approach in words (orally). This trial explanation and all
the constructive and arrangement work can only be a messenger of new
journeys.
1991
"gezi MR-I"
opinions
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