Collages and Three-Dimensions

The 1985 exhibition at Galeri Baraz marks another interlude.
The masking templates, photos, and diagrams used making the previous pictures were quickly arranged on paper, one on the top of the other.
In an exhibition catalogue I put it like that: "The most effective force that gave direction to my art has usually been counteraction: The tabooing of unbalanced composition, the lack of light, depth and color, the mistakes made in the name of social responsibility having their root in personal problems the contemporary allergy of the world kindled by subconscious nationalism and other deprivations dark tones superficiality and, instead of warning, the artist's innocent adoption of this undeveloped society , and his weakness to be in harmony with the popular taste.

And naturally the reaction to those items I listed which fall to my share within my own environment .. That means namely reaction to myself.

And now more light, more color, depth to come, to increase the dose of disharmony among elements and functions against the balance settled for harmony among elements and against the common, intellectual simplicity instead of adornment; love and interest towards that which must not be done is overcoming me .
I want to make sculptures, assemblages of my paintings. How it all will end in success or defeat I cannot foretell, but I am impatiently waiting at the gate in a state of ecstasy."

1985 began as an active year in my artistic career. Those graphic tools began suddenly to bear down on me like an avalanche. As the idea crystallized, the materials it embraced swelled in number; the work of students, city maps and blueprints, disjunct elements newly prepared by myself, amateur graphics by anonymous hands, bits of letraset alphabet, toy dolls, little everyday objects. The more I broke up the harmony, the closer I came to my goal.

Making mistakes was a roundabout way of approaching the future's truth.

Once I got going, everything that came to hand, wounded up alongside an element it had never encountered before, and they were to be united until some date in the distant future.

Around this time, in 1985, I first made use of the word terminology . By now I was resorting to a large vocabulary , to heighten the difference in technique, thought and structure which gave rise to space. There was no telling who might end up walking through the 3-D pieces I would create on a given day. Everything was art now. I even went so far as to make pictures by putting together pieces made up without my knowledge, by my students. This was a different path, and result, from that intended by Delacroix's pronouncement beginning, "Give me the mud of the streets." We did not mean to surround disjunct elements by that which would bring them into harmony, on the contrary, we would force a number of "strangers" to live together. Or we would describe a method for their getting along, for bringing togetherness to objects of divergent logic and origin.

Intermediary Phases: Ramazan Paintings and others

Paintings in the group of Ramazan Paintings all had long and complicated Titels. The painting shown on this page was entitled

"Providing Credit to Agriculture in the Ottoman Empire between 1846 - 1895,
and a procedural research related to the Eclipse of the Moon"

Light and Space

The group of Still lives without Mandolin are maybe the last ones to reflect my very long acquaintance with cubism.

This intermediate period, born from the technical remainders of the realist period, consists of some 20 paintings.

Kassel Paintings