Minus Two
Art as an act, takes its basis from a pure intuition that’s driven from an individual reaction later turning into an artifact. From the very moment we try to understand the value and purpose of art in human life, the correlation between art, artist and artifact, is indeed a potential clue related to one’s existential- ism. Therefore art is an irrepressible manifestation of one’s existence.
The Mannerism, who emerged as a reaction to Rennaissance’s classic approach which constitutes the basis of western paintings, were denying classic aesthetics for the first time. While Cubists were exploring this with a groundbreaking approach, Futurists with their manifestos of machine age depicting wars, had acts and statements that disrupted the reliable nature of art scene.
I see the modernism period that favored artists’ interpretation over aesthetics favoring how it’s depicted over what’s depicted and all the avant-garde expressions and evolution of form following it, as intentions consolidating the projection process of the artist.
Şerife Bilgili Ercantürk, projects micro and macro complexions over urban to recollect her basic intuitions. Her first individual exhibition in Artweeks@Akaretler; with life derailing the way life does, assumes the origin not as “0” but as “-2”.
Exhibition opens with an installation where five construction ladders are sent off to infinity represented by white. The association of the name with construction and the ladder metaphor provides space to read the installation over the hosting venue. The use of ladder as a ready-made material makes one question the flow of life and the despite all eternal probabilities the clarity life has.
Presented in a neutral venue providing the link between different works, this exhibitions’ main approach consists of Ercantürk’s accumulation of her visual memory. The blur created by overlapping images represents a single abstract sphere due to simultaneous expression of numerous emotions. Using rather large canvases, she utilizes techniques such as dripping, tossing, scraping while shedding main visuals with a certain rhythm. Assembled over the canvas one can find construction materials, metal saws, concrete, hammer, locks, rollers and machine parts.
The references to the experience and knowledge of the artists constructs the images. The lack of pivot by ever-in creasing number of images smashed on the plastic surface, forms a whole by exploring all ends of the canvas’ facet. This way, all the dissolving, pictorial images constitute heavily rhythmic parts that manage to stick together. A contrast to Ercantürk’s corporate rigor, this rather chaotic approach that’s overriding color forms a certain pictoral choreography. The general narrative of the exhibition offers a continuity in rhythm with moments of calm and with moments of rush.
The Mannerism, who emerged as a reaction to Rennaissance’s classic approach which constitutes the basis of western paintings, were denying classic aesthetics for the first time. While Cubists were exploring this with a groundbreaking approach, Futurists with their manifestos of machine age depicting wars, had acts and statements that disrupted the reliable nature of art scene.
I see the modernism period that favored artists’ interpretation over aesthetics favoring how it’s depicted over what’s depicted and all the avant-garde expressions and evolution of form following it, as intentions consolidating the projection process of the artist.
Şerife Bilgili Ercantürk, projects micro and macro complexions over urban to recollect her basic intuitions. Her first individual exhibition in Artweeks@Akaretler; with life derailing the way life does, assumes the origin not as “0” but as “-2”.
Exhibition opens with an installation where five construction ladders are sent off to infinity represented by white. The association of the name with construction and the ladder metaphor provides space to read the installation over the hosting venue. The use of ladder as a ready-made material makes one question the flow of life and the despite all eternal probabilities the clarity life has.
Presented in a neutral venue providing the link between different works, this exhibitions’ main approach consists of Ercantürk’s accumulation of her visual memory. The blur created by overlapping images represents a single abstract sphere due to simultaneous expression of numerous emotions. Using rather large canvases, she utilizes techniques such as dripping, tossing, scraping while shedding main visuals with a certain rhythm. Assembled over the canvas one can find construction materials, metal saws, concrete, hammer, locks, rollers and machine parts.
The references to the experience and knowledge of the artists constructs the images. The lack of pivot by ever-in creasing number of images smashed on the plastic surface, forms a whole by exploring all ends of the canvas’ facet. This way, all the dissolving, pictorial images constitute heavily rhythmic parts that manage to stick together. A contrast to Ercantürk’s corporate rigor, this rather chaotic approach that’s overriding color forms a certain pictoral choreography. The general narrative of the exhibition offers a continuity in rhythm with moments of calm and with moments of rush.
