texts

Until recently, I worked with digital medium and drawings of human figure mostly, but I realized I wasn’t expanding at all and I wanted to free myself from limitations of old habits of an archaic understanding. As much as I was exploring on a smaill scale, that approach kept my consciousness on a limited level. In this level, I was restricted to repetition of eye-seen realities of three dimensional world. But in artistic approach, there’s no restriction of three dimensional world and there is no rule at all. Rather than taking small steps within my own circle, having an external progression for going further were needed to leave old patterns behind. I believe, I was keeping myself restricted by old habits by some sort of survival instinct. I didn’t want to leave base ground, I suppose. But relocation that I made on physical world, made my mind upside down and I decided to leave old habits behind. I went back to basics and took the best approach to express my joy of drawing with pencil and paper.

Nonetheless, I‘d consider my works as a part of classical art practice and naturalistic in an abstractive context. Because I try to utilize a balance between light and dark, composition and harmony among the components I use.
From minor to major scale, nature is my biggest inspiration. I believe form is the main element of my art practice. When an artist uses tools of abstraction, human mind collaborates with the forces of nature for bending the primordial form to be taken shape by an idea. It is some sort of process of synthesis in one’s mind to make conscious choices when its orchestrated by natural forces. Just as water, air and fire altering density of earth, time affects and recasts the artistic practice. By the instruments of time, every projection, dent and degeneration are essential steps for shaping the solid surface. In a nutshell, I define my work as rock solid formations disguised in liquid shaped synthesis.

Constructive and destructive touch of nature may go both ways. Destruction gives voice to an internal rhythm of the form that is bursting out of itself. Contrast of life and death is dualistic by nature of liveliness as a dynamic motion. In this approach I started using a mixture of hard surface shapes and textures as liquids in free form. Inspired by this dualistic nature, I tried to construct an expression having made of contrast; rock solid shapes in fluid form. Personally, when I am drawing those pieces, I feel like both looking at landscape but partaking in a dynamic motion at the same time. As nature can be a serene setting, when balance gets lost, going back to creative state may require an action to take; like precessions in nature and cycles to fulfill. I can relate my creative process of leaving old practices behind just like in nature’s transformative actions as a part of closing phase.

To sum up I try to express dualistic nature of human psyche and body of earth by rock solid fluid forms in notion of naturalistic concern. In adaptation to daily world, issues are growing bigger to heal the self and global community in a comprehensive way. In that sense I can relate my artwork as a contribution to an environmentalist outlook. I feel, using textures and shapes of stones, plants, liquid and air are some sort of mnemonic to nature. During my personal transformation to break the habits, nature was a tool and helper for me to see beyond the shapes of phenomenon; air, fire, water and earth forms are convenient to observe and were granted to build up a new approach.

Nature has always been my main inspiration and human psychology has been my personal interest. Jungian theory suggests that human nature comprise some conscious and unconscious parts. With a self introspection, art itself can be a healing and mediator tool for shattered parts of human nature. In my personal exploration, I came across an unknown part of me that awaited for years to express itself not by figure but forms of nature itself.