Artificially Flavoured Is artistic production possible by taking its source of inspiration from the production itself?
The basis of my works started to take shape in company with this question. When thinking about how one can produce art without giving any reference to a being excluding itself, I began to challenge my visual memory “pollution” as well as reflect on what an image-object as a non-illustration of any being is. In this context, I tended toward the question “how is it to be a non-illustration of any being?” While contemplating this, I started to admit that this is not within bounds of possibility and to approach the answer of the question as “being purified from the image”. With this idea, my works have become extremely plain and abstract while some basic geometric forms as well as some structures which I encounter around me and generally use without much interventions started to dominate my work. After this point, I was able to produce my works almost without touching them and without establishing the relationship of a painter with the canvas. It was as if my works which in general do not need me at all except for a few simple drawings produced themselves. At this point, the question occupying my mind arised as which role I would attribute to my existence in this position.
I prefer to leave this question to the process instead of answering it. However, I can say that the main issue in my works is about what these works are and how we should see/read them.
Basically, the point I am emphasizing indicates a problem not only concerning my works but the whole artistic production. Therefore, we can transform the former expression into the following question: How shall we read an art work? Certainly it is not possible to answer this question from a single point of view, however, I can make a statement about my production as follows: None of the works that you see in this exhibition is anything else than itself. There is no other and more qualified semantic construction lying behind the surface or form. And even if they connote something for you, none of them is anything else than an object – some of them three-dimensional and some of them applied on surface – produced with certain industrial techniques.
These creations present themselves to the audience solely as works. Elements such as space, composition, volume, surface, etc. consitute the main theme of my works. Therefore, the art objects that I create have the characteristics of not being a tool made use of for creating an image or a form but they constitute the main point of emphasis. My aim is not to paint images so masterfully that it will make the physical being of painting on surface forget, but to underline what painting or sculpture basically is. Hence, as a result of creating the forms to be applied through interventions which will break the two-dimensional integrity of the surface, there emerge works which might neither be defined completely as painting nor sculpture. Furthermore, my preference of not using colour in my works is aimed at integrating them with the venue by diverging from narrative, descriptive and illusional elements. In my opinion, art works cannot be considered separately from the venue and the conditions of the venue in which they are exhibited while there should be a common language and harmony in an exhibition. In this context, my works, each with a singular existence, consitute an organic bond within a certain setup in the same venue. All of the works that you see in this exhibition have been produced aiming at a unity for this exhibition.