I'm like an ambassador, I was chosen to reveal my works and messages.
report
If you were the superpower of a fiction character, what would happen?
Absolutely time travel!
What would you do if you knew you'd get out of the trotter and get a ban?
I would play one of Space X's space rockets. Elon Musk's PowerLü There is a representation of capitalism. Even if space tourism becomes activated, people only one bugLI can experience it. This is something I want to experience, but I have no chance of having such an opportunity.
Are the dreams or dreams?
Dreams are more conscious and memorable and can be placed in a logical framework. Dreams of night are more emotional, carries disconnections, but it is one of the rare moments in which reality is experiencing an unlimited break. It is really hard to choose, but I choose it because the dreams are more functional.
How do you think there is between existence and livingL There is a difference?
I think it is about the ability to exist, to reveal the internal identity of the person, and to live is only about meeting his vital needs. For example, I feel that I exist while making the most production. In my process of revealing my works, the mood I am in, the ideas that return in my head, to face empty canvas, to revive the picture I will make in my eyes, or the process from the beginning of the work to the end of the work makes me feel. In my opinion, not being engaged in an artistic or creative action means living only, that is, to survive only; This is equivalent to not existence at all.
What would happen if you had a question that you would always get the answer honestly?
I often think about the relationship between people and buying art. I would like to learn the sincere, real intentions and thoughts of the people and institutions who take the work. Do they use the work as a script, as a tool? How the bond they set up with the workL a bond? Or is it just a profit -oriented investment? I would like to learn their real intentions and have an idea about the relationship there.
The difficulties you think every artist should live?
The head of the artistic struggle itselfLA difficulty per. Regardless of geography and time, each artist must suffer the pain and difficulty of his own process and gain experience. The most important challenges that the artist can experience in order to raise his own support models in order to consciously travel the ways he passes to improve his own artistic perception with his experiences, to accept the fact that he does not actually know anything and to maintain his production. In short, I can say that the process is sacred. DecisiveLI think that stability and will are the qualities that an artist should have throughout his life.
To deal with art, Painting how do you want to doL you understand?
Of course it didn't happen at once. As I lived the process, I found myself more in art. Fine Arts High School was a beginning for me. The academic education I received at the university developed my artistic perception and conceptual thinking practices. While doing art history readings, examining contemporary works, I dreamed of myself as a part of art, in my experience. While revealing my works, I see production as a process of expression and purification rather than the purpose of “being an artist”. I think that art is about the purification of the artist rather than inquiries that art is for society or for art. I guess that the works of many artists emerged as a result of this purification.
Which historical personality would you like to talk about?
Goya! In Spain of his time, greedyLHe criticized indirectly, although not directly, destruction and violence. Even in his works on orderLü and there are confidential critical messages. The scenes in the disasters of the war, that is, Goya's engraving pressures on civil war are different from the fact that the war is visible, but it creates a unique reality. This attitude of Goya is one of the most important elements I have taken into consideration when constructing my works and creating my compositions. Due to the narrative that Goya adopted on real and fiction in both allegorical and literary works, I accepted Goya as one of my instructors in my art education process. Therefore, it would be perfect for Goya's interpretation of my paintings and the methods I watched.
What we see in his works Photography To eliminate the line between the real and the fiction?
In fact, unrelated, finding the combinations that I have taken over the finding photos as if they are real. Photography like Painting More fictional than the expression Painting I find the expression more accurate for my works. The compositions and fictions I have created have a photographic effect, but they are never hyper realistic. I'm trying to reveal an original perception of reality. Restrictive to recording in my worksLI want to stay away from. My aim is to offer the audience a more free experience and new fields.
How's the audience with the audienceL has a relationship?
I want to provide transitions between the audience's own reality and my imagination and the fictional reality established. When the audience faces my works, they react differently based on their visual experience. His audience makes traces and connotations with his own perspective, cultural and visual accumulation. In fact, it also gets some kind of experience. I aim to provide this area to the audienceLI am.
How's anonymous photosL are you instrumentalized?
I process the reflections of historical events through figures and spaces. There is not much room for emotion in my works, all of the fluxL And installed with logic. It is important for me to keep my works apart from my intensity of emotion. The spaces and figures I use in my paintings are completely tools, all of them are full of sociocultural symbols that have reached a universal dimension away from their reality. I use finds and anonymous photographs, each of the people in these photos is in their own life. I use this anonymity to give the political, cultural and political criticisms I want to give indirectly. I'm like an ambassador, I was chosen to reveal my works and messages. In fact, I have no special interest in space, the cold war period and the astronauts, just one vehicle.
The figures you create are always stuck in the molds, soldiers, astronauts; what's hereL There is a context?
VaccineL The decisions of the decisions are mostly "suits" characters, anonymous and hidden. The Cold War period is a great example, but the same situation has been realized and the same situation in similar periods to this time and the structure will always be the same. .LIR. These people who are visible in my works are filled with many emotions such as ambition, hatred, nationalism, fear and happiness.
HowL have molds?
I think most artists carry molds. The aim is to destroy these patterns and put something on it. At the point where I repeat myself, I try to adopt new perspectives. In this way, I feel the power that can destroy all kinds of molds over time. I can reveal works in different formats and disciplines. Oil on canvas all my lifeLI don't think I'm going to do it, I just choose it as my most comfortable expression for now. The rules I have set in my artistic expression and paintings will be destroyed after a while, but I know that I have to go through this process.
How's the preparation processL is working?
In my head, a missing, faded frame occurs before. Numerous collages, too much combination… As soon as the collage occurs Painting It is almost completed for me, head to paint the canvasLI am and finish. After finishing the work, I am incredibly relaxed. I work without seeing people, without communicating and interaction with anyone. I have to stay with myself in order to produce, I am abstracting myself from external factors. A tiring and lonely process. I find such a discipline required. When I start a canvas, I get more excited, it turns to endure routine towards the end, the only thing that makes that process can be foldable is the new work.
A piece you listen to over and over again?
Music is my 21st century reason, this centuryLhas a weight in artistic production. Never listening to music Painting I can't do it. The sound of friction of the brush on the canvas will irritate me too much, I can never bear this situation, so it is impossible for me to work without music. I stop when the music stops. In my routine workshop process, I take refuge in the pleasure of music for the deterioration of routine. Listening to the same songs constantly becomes a fueling routine, so I show importance that the things I listen to is in a constant change, and I draw a lot of “famine”. If I love a piece very much, I carry it out of the workshop.
What would happen if you were to choose a piece to awaken someone who is about to realize his duty and perhaps to sacrifice himself during the task?
To reveal hidden sensualities: The Black Heart Procession - A Light.
Photography: Enes Alba
Video: Mercan Dinçkök
Interview: my story Pala
Page Design Application: Mercan Dinçkök
Page Design: Studio Pulle
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