StatementMarch 6, 2014
I know myself as a figurative painter; formal aspects are important to me and usually, my paintings include drawing features. In my artistic studies until now, I have spent a lot of time learning academic figurative painting and drawing with the principles of anatomy and classical methods.
It is usually said that after learning, sometimes you have to forget it and it seems that this process will be successful only in a conscious process. There are painters who do not have a technical conflict and do not get involved in it while working, they have either solved this problem in themselves and have experienced and dealt with it sufficiently, or they do not consider it original; But for me and at least until today, this issue is still important and continues. Academicism, technique, and skill should justify and explain their presence in the work and be hidden and integrated into the work in a way that does not engage the audience and viewers at first and surprise them in the subsequent searches.
The human body is very attractive to me, and the variety of figure states and conditions in the face and body shape provides me with the possibility of infinite form experiences. The human figure as the strangest and at the same time the most familiar form has always been important to me as an object. Deformation and changes in the human body and states under the influence of movement or otherwise have been the main theme for a long time for me. In recent years, my interest in pasting pieces, combining, collaging, and experimenting with diverse materials in painting and using them directly on the canvas has become interesting to me. I don’t think about the independence of painting and drawing; I use both in relation to the other, and I usually don’t set boundaries between them. I don’t use drawing as a blueprint and sketches, and drawing-like tendencies can be seen in my paintings. I prefer to start working in an improvised and free and form-oriented space, and sometimes even a little more abstract, and then use familiar elements and human figures and nature, and for this reason, I am also very interested in working on worked canvases. The non-white surface or collaged creates visual textures as a background for work.
I am obsessed with the improvised aspects of the painting process; How my unconsciousness could affect the process of creation, converting familiar forms to new qualities and accidental conversion of forms to familiar objects. Every form has or can create content, and every content can accept and evoke a certain form. For me, at least until today, visual aspects have usually been preferred to thematic aspects, and beyond symbolism or mythology in my works, my involvement with the category of beauty and aesthetics has been more. It is the act of painting that is the ruler that ultimately leads to the preference of the image, beyond what happens in the eyes of the audience and in his mind when facing the work. Ideas take form in my mind and then they get meaning; Forms that seem to be rooted in my subconscious mind or visual tastes, and their decoding is the key to entering the meaning and content.
Painting for me is a kind of game and trial and error, and I can learn from the work at every moment, and even deal with painting as if it is the first time that this experience happens. Accidental and unconscious aspects coordinate in the work process with the structure and tone of the work, and even in works with a preliminary sketch, in the end, the final work is usually due to attention to these Aspects, have fundamental changes, and end differently.
What is expected from me as an artist from the east with mystical, philosophical, and religious backgrounds and roots, with a pictorial and historical background; is never in conflict with what is considered in the West as visual arts from ancient Greece to the present day. I am trying to unite Eastern and Western traditions and achieve a personal, independent, and unique way and all my efforts as an artist are to reach the language of today’s art.