Since 1985, the artist considers the “space
and time” relationship with an intellectual concern, while
developing multi-vision practices, shows an analytical
approach. H.Avni Öztopçu is not only dealing with the
belongingness of object to the space, at the same time
dealing with the belongingness of object to the time. In
the inquisition of object in relationship of object and
space; the aim of the artist is not only authenticating a
saved moment against the time slipping through our hands,
and not capturing and eternalizing a moment existing with
the time.
The artist enables us to read the opposite
notions in a circular flow like emptiness and fullness,
vertical and horizontal; the being of opposites inside the
dialectic of object and space, which are the complementary
parts of a whole in the language of the plastic world. In
his paintings, H.Avni Öztopçu correlates the space notion
with the gaps between the objects and crosscut planes or
plane in series, and illusion of three dimensions by using
the perspective. He builds a world which is composed of
artistic instruments placed on an art-specific surface
with a fiction which is composed by him and determines the
rules of space. Although, the references of all elements
in the composition are coming from the outer world, they
can be read as the reflection of the artist’s inner world.
In the paintings of H. Avni Öztopçu, no
object is accidentally located in the space. Object
demonstrates its belongingness in time as an ongoing
element of mobility, and artist questions the
belongingness of object to the time and space with a
sophisticated perspective. Since 1985, this perspective
constitutes its own “Individuals” in every attitude of
each stage, also reckons with the past and with the
metamorphosis inside, and give a start to his odyssey in
sheltered areas. In this odyssey, we see the individuals
of each stage which are sourced from the mentality and
perception perspective of the artist. The artist who
leans to new searches in his each stage, allows us to
watch the circulation of the visible and audible in the
“time and space” perception which are the baselines of his
paintings, and also allows us to see the whole scenery;
the problematique which has been discussed for 30 years,
and the fictional conversions in his own stages.
H.Avni Öztopçu’s discussion of space-time
relationship in his paintings goes beyond a physical state
and with the synergy of emotions and thoughts confronts as
the reflections of the envisioned imaginary process.
Fiction progressed through the thoughts of the artist,
while transmitted to the canvas, each element generates
its own datas, and these datas concretize as form’s and
motion’s optical expressions. The motion of all the used
elements and the structure of the surface which shows
resistance against it draw the attention with the planes
and with the light and shadow. In addition to this,
verticals, horizontals, and each piece placed on the
painting are producing their own meanings and, while
plastic values gathering in countless ways in the space of
the painting surface, plane variations enriches our time
and space perception. Spaces interrupted by planes and
consisted corridors enable us to build a new relationship
between the object and time. On the other hand, while
physical space transforming to the work of art itself, and
by incorporating the time perception in to the work
creates a sense of fourth dimension. Therefore; the planes
in Avni Öztopçu’s works, serves for a very important
interrogation. The gap between the objects is not only
areas plotting the objects; at the same time are parts of
the space. Also, the gap between the objects as a design
element is a figure and as well as a part of space. The
plans which are related with each others in the space, at
one side are creating a surface of a plane, on the other
side reducing the surface of a plane by dividing. These
vertical, horizontal or formless surfaces interrupt the
space while disrupting the integrity of other surfaces.
When we look at the visual world, either an object is in
front of an object or behind another object. Between the
adjacent and overlapped planes, there are transition
steps, and like geometric forms planes seem overlapped by
the effect of some factors. The paintings of H.Avni
Öztopçu draw an attention with the fictions composed of
sequences.
The paintings of the artist shouldn’t only
be evaluated as an examination of plastic layout which
creates the work of art, at the same time should be
evaluated conceptually with space and time coherence.
Ephemerality, conversion and continuity of time, enhance
the conceptual importance of dialectic in fiction. And
according to Paul Virilio, in new global information
technologies, the most outstanding thing isn’t space, it
is time. In the new post-modern period, the speed of time
intensifies our perception of reality, and also
accelerates it and this situation destroys the naturality
of earthly time and space, and provokes to perceive the
reality as time and space informality. But, the paintings
of H. Avni Öztopçu points out the integrity of serenity
and simplicity expressions instead of speed and
fragmentation. The artist considers not only the
superficial image in his paintings, also considers the
balance of the oppositions originated by the elements.
When this opposition examined, it can be seen on each
vertical and horizontal section on the painting plane and
with effecting the surface, it deforms its two dimensioned
nature, and by creating its own domain, mediates a
dialectic motion. Artist balances each element’s existence
with a resistance against an opposite power. In this
resistance, we are observing how opposite powers
strengthen or weaken each other. At the same time,
oppositions create a tension that ensures dynamism. This
dynamism between the oppositions can be seen sometimes
with the verticals and horizontals, sometimes with the
light and shadow contrariness, and sometimes at the
contrast of warm and cold colours. In this exhibition, H.
Avni Öztopçu scents out a simple and minimalist
understanding by focusing on the opposition of vertical
and horizontal planes, light and dark colours instead of
the opposition of colours. When we look at his
compositions, he enables us to compare these dynamics with
each others, and analyse them one by one, and after that
enables us to integrate all these parts.
Integrity has a very important position in
the paintings of H.Avni Öztopçu, and also enables us to
develop a perception which helps us to organise
correlating the visual elements in sensual aspect
integrally, as already organised in mental aspect. On the
surface which is limited with two dimensions, spatial
distributions of the visual elements compose a perceptual
effect. The artist, with the effect of perception created
on the ground of conscious, provokes the sensitivity level
of the audience and opens the doors of sensual perception.
In our analysis, in some part of decomposition enables us
to consider exterior impressions through shape, and in
another part enables us to consider inner reactions
through senses.
In Istanbul Mine Art Gallery, Niţantaţý
venue, under the title of “Shelters
and Individuals”, H.
Avni Öztopçu exhibits his paintings and enables us to see
how he benefits from the opportunities of the plastic
arts, and how he deals with the main elements of art while
questioning the fundamental problematic of “time and
space” in his paintings. Since 1985, it is possible to
witness a historical cycle of artist’s approach to these
elements.
Each studied artistic production, shaped
and rendered according to the period they are created in.
H. Avni Öztopçu who renders the time-space problematic
with the opportunities of plastic language, in his
“shelters and individuals” exhibition is heading towards
to the future while continuing his traces inside the
corridors of the periods themselves, and transforming and
altering in his inner dynamics.
Area Experiments and Individuals
Pýnar Sumer Biber;
ÇAĐDAŢ
1985" sayý:28
When we look at the process of Avni Oztopcu’s paintings, we
can see how same attitude progresses over its cumulative
segments and from time to time how they withdraw the
previous experiments to experimental areas once again.
Even their names are different; we can see the individuals
which have transformed on their own with the names “Tek Dg”
and “Tek Bt” (1995). Before the Individuals, there were
paintings of him which belong to the year 1985 and those
were the preliminary works for the paintings in this
exhibition. While these works looking for peace zones, they
also strongly desire to reach the unique person and also
touching their domain through the literal and absolute
figures.
After the “Phases” exhibition, “Shelters and
Individuals” was the last exhibition that Oztopcu has
opened in 2014. In both of these exhibitions, the artist
enables us to see the whole integrity of the fictional
conversions consisted during his stages and
the problematique which has been discussed for 30 years. We
will meet with some of these new experiments in the
exhibition of “Area Experiments and Individuals”.
In these experiments, we can see that the movement improves
with the emphasis of the light and dark tones and with all
the states of colours in the infinity of darkness. We face
with the relations supporting balance which are continuously
in a struggle, while the gravity is building up. We will see
both contradiction and emphasis in the same environment.
We can see the attitude related to the contradiction of
darkness and colour in Oztopcu’s report in 1986. “…In
my paintings the figures which express an artificial
appearance are lapsed in to colours and geometric or free
shapes, sometimes give the feeling of a rough ornament and
these are all in an infinite looking location, that can’t be
determined by anything. This location is the space where the
stars are travelling, and it is outside of our usual
experiments. So it seems like an imaginary place for us.”
(1)
In the report of 1989, for the period in which the colour
contradiction empowered: “…geometric ornaments replaced
with free shapes in the later times of 1986. And in the
beginning of 1987, these free shapes adopt their role with
their active sides in this combination. They are no longer
in a dark place where the stars are travelling, but they are
still located in an imaginary atmosphere. New ornaments
undertake the enthusiasm in the painting while carrying
three elements of the colour with their vibrant side”
(2)
In both states of the contradiction, a strong desire exists
for using the movement in edges. This brings up the linear
structure. “Being in search of clarity, integrity
and accuracy with the expansion of contradiction through the
edges, made me approach to a linear structure. And also form
occupation has cultivated the linear structure as
well.
My method of seeing the form, transformed in to the duty of
certainty. This doesn’t mean form needs to be certain
all by itself, this just means each form has a strong
tendency to manifest itself.
I hardly worked in order to make the elements seem with
clarity and accuracy. Emphasis is over the boundaries of the
object and linear approach separates the objects from each
other. My target is comprehending the objects as permanent
and tangible realities. Each form has been compelled in
order to seem in the most typical way for themselves. Single
(found by oneself) ornaments are improved in case of
meaningful contradictions.
In my paintings while each part is tightly bounded to the
whole, at the same time tries to be independent. This is not
randomness; singles are subjected to the whole, but never
give up existing on their own. This forces the audience to
see additively, which is an occupation for combination of
the independent parts.
…Certainty in my paintings remains in the visibility of
forms. When it is watched entirely, there is an
uncertainty in the meaning. In this case, this is not
the complication of a puzzle; on the contrary it is just an
occupation in order to conserve an uncertain part eternally.
The duty of the uncertainty is dedicated to the meaning
of the combination.
In the combination of all, the meaning is not related with
anything. The certainty in the forms obtained with the
expansion of contradiction. Forms can be in absolute
intellectuality or can exist in nature devoid of holism and
the elements isolated from nature are in the way of
intellectual intangible existence. Both of these states can
connect with each other intellectually."
(2)
The certainty – uncertainty stages still continue in
the paintings of H. Avni Oztopcu. This is the state of the
individual or individuals and their feeling areas. While
individuals remain on their own, at the same time it can be
seen that they try to make a distant collaboration with the
other individuals. They also aim touching a unique person
further and it is perceivable that there is a desire for a
journey to reach universal time through its own area. (3)
1 - Oztopcu, H.Avni: Light-Space-Object, Istanbul 1986,
Mimar Sinan University Social Sciences Institute, Art
Painting Department Masters Report.
2 - Oztopcu, H.Avni: Fictional Space, Istanbul 1989, Mimar
Sinan University Social Sciences Institute, Art Painting
Department Proficiency in Art report.
3 - Sumer Biber, Pinar: 2015-2016 H. Avni Öztopçu interview
notes at the studio.
Avni Öztopcu's 'Road of Place'
Muammer
Öner;
Sanat Cevresi. Issue no.121
November 1988 Istanbul
H. Avni Öztopcu's
"Road of
Place" In his early works
(1985), he used black which he defined as "darkness" and
white which he defined as "light" as his basic tools.
1985
Büyük Oylum
We
see that he tried to reinforce the geometric speculative integrity
of the stratified contrasts created by lighted crystal brightness of
the mechanical objects which he places inside the dark spaces with
their grayish-white gradations, together with diagonal planes
including amorphous motives with elements of connections, motion,
repetition and texture. In his later works (1986),
1986
Meţale
while contrast
created by motion in the earlier stages where being replaced by
perpendicular and horizantal forms in conrast, rythmic elements
making the geometric planes of mechanical objects took the place of
contrast forms (Amorphous-Crystal). Grades of grayish-white
transformed into grades of colour. The rythmic elements of
repetition prevail their mechical structure while in search of their
appropriate place and function. It is not difficult to see that the
reason for this change in H. Avni Oztopcu's paintings is connected
with his orientation towards
1986
Yapraklar
"colour" and "motives"
which gained significance in his works. In fact in his later works
(1987) these two elements constitute the fundamental structure upon
which he builts his drawings. The function of the black and white
contrast in his early works are now transformed into the function of
colour contrasts. His passion for black and white contrast has been
transformed into grayish spaces and passages which he used in his
drawings.
1987
Tütün Çiçeđi
While mechanical decorations take the form of organic textures, "Planimetric" structure has been adopted with
respect to space as a result of this approach.
1988 -1989, sütunlar
