Since the beginning of the 90’s, a strange tendency has been wrestling in the Turkish picture, which has not solved the problems of surface painting and has tried to form a synthesis with the picture of figure on top of it. It was inevitable that the color, the stain and the abstraction reached the peak of Mondrian, and that the surface of the painting, increasing gradually with the figurative-decorative contributions of Matisse in the world tradition, would have to come back after years. At this point Nihat Kemankaşlı, who I have been able to follow his products in the last quarter of the 90’s, tried to create his own figurative concept of surface painting by making a very correct choice – the decorative contribution I mentioned above, by transforming it into geometrical forms (ie not taking the figure concept of paint painting ‘entrustment’ I was in a privileged and important place, ‘I wrote about an exhibition of the artist I had mentioned. I saw that I was not mistaken in the past, and rather Kemankaşlı did not mislead me. The choices and preferences of the artist include a consistency that proves that all the achievements to date, my words are still valid. Not only with consistency but with a posture today. The insistent endeavor of the artisan is not only a consistency that does not surrender to the present-day galleryer, buyer and interpreter, but also an imperative aesthetic consistency in the effort to perceive and convey its own world. In short, I am not carrying a righteous pride and arrogance from the wrong side!
But I do not want to mislead you either. Because I am an intermediary in the end; The pictures of Kemankaşlı do not promise you great enthusiasm or they seem to be first hand. When you look at them, they will not be able to produce exciting stories, respond to your longings and a colorful world design you’ve dreamed of. You will not see charming figures or imaginary lands that do not exist. The artist just wants to see you again and see what you see and see with a new look. The color and the isolated state of the scheme will probably attract you, if you do not want to. But one step after you can also recite new works by Kemankaşlı: you can say that you can rearrange what you see beyond what they see, to the canvas. Sometimes they have an attitude that does not hesitate to produce works that can be regarded as ‘plain’ as simplified, reduced or minimal tune. Sometimes, it does not hesitate to put together all the forms that we have created by preserving all the features we consider. I’m talking about putting together forms that seem to be side by side or complicated (like me), in the way that I ask them to read like a figure personally. We come to the most important point that distinguishes Kemankaşlı from similar ones or different ones; It is an effort to reach, reaching the whole starting from the smallest elements of the picture or the picture. We can say that to keep away from the linear, color and figurative (first readable) figure that is made up of the masses and stacks of today’s painting, we can say to the common point of all efficiencies.
Kemankaşlı reflects the reduction of the experience and accumulation in canvas, paper, and hand (collage can not test them) work. An understanding that does not change the fact that we are faced with a regulator who does not aim at material but does endlessly questioning in the purpose canvas. Some of the items (athletes, t-shirts, pants, blankets, sheets, curtains, etc.) that match the look of paper, paint, fabric or image are of equal importance in the work of the artist. It places places (such as workshops, neighborhoods, balconies, beds, etc.) that have lived like many artists, or objects that occupy space (beds, chairs, sofa beds, tables) in the center of the picture. Basically, the artist, who is leaning on the main traces of his paintings from his life’s impressions, should add rhythm to his compositions which can be considered to be static, and also to say that the place of objects and beings concentrates on the importance of life. But this concentration does not include a crowd we have just mentioned. It seems to be especially caring if it does not exist. Everything that we look or want to see, that is, what he wants to show us (somewhat), finds space in an isolated form on his canvas.
I hope that I take care to not say abstraction, I hope. Geometric or semi-geometric forms, each of which reminds the parts of a puzzle and evoke the thought of being constantly displaced, the standpoint of the image of Kemankaşı resident versus the figure and the clear indicators of composition concerns. The purpose is not an adventure against the space (ie canvas) its picture. Neither the paint, nor the line, nor the pattern forming the linear whole is adventurous in his works. We will witness the completion and the things that have been completed, lived, studied, consumed and become a long-suffering object before passing to the canvas; a mathematical structure formed by the establishment and color of the stain, the composition of the stained line is opened Kemankaşlı picture; the result of a downright adventure we remain alone.
Turgay KANTÜRK 2011