Realistic Phase

After the phase "Mart 12", at a certain point of settlement in 1972-73 when I got rid of the pressure of the events, these fallen, panicked, painful suffering human figures began to change and seem like mechanical usage tools. At first their puppet-like articulated bodies were mostly combined through screws etc.
The composition was always horizontal, the upper part was a deep emptiness, within which always a pale sun of hope was shining.
The tension of the events was substituted by a silent, unbiased concept.
Horizontal elements in the lower part were situated within the depth of abstract space. Concrete particles constituting the subject were combined to create a rational form or a structure.
Among the motives for these works was a reaction against the confusion in Turkey and antipathy towards the reigning simplicity in the Turkish thought system. This protest was to prompt my work for a long term movement.

The first mention of alienation between materials as an impulse in my art came in the brochure for an exhibiton of my work at the Taksim Gallery in 1973. The varied function of the organs, and their multiple vitality, and the rich vocabulary of their formation all made for a broad range of expression, while the contribution of depth ensured limitless possibilities in dimension and means employed. The first example in 1972, titled Gerçek ( Reality) , for the first time grew out of a collage sketch. The act of bringing these disjunct elements together might go very quickly, or might take days; but when it was done, they were applied in paint to the canvas all at one go.
With a very few exceptions, however, the sketch that had been ready to hand, from the beginning to the middle of the painting's emergence would discretly move off from the easel in deference to a newly-felt desire for independence in the larger work.
And each time a painting finished, the sketch which I had at first liked and thought worthy of this conversion looked somehow poor to me, pale beside its fullsized counterpart. I believe that what was happening was that I would finally see the true picture which had lain concealed behind the sketch.

The whole series were made up of collages from magazines, photographs, and reproductions of my own work. The point of departure was in the harsh relations among materials of divergent origin. Because the forms were of varied derivation, a disjunction resulted among the elements, along with violent, unharmonious color, cock eyed proportions - and of course original ideas. By now I was letting the picture build itself while I followed.