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Nihat Kemankaşlı


Nihat Kemankaşlı In verat comments in his paintings of acrylic and oil paintings, he has created a combination of childishness and fascinating humor in a bold and lively atmosphere. His paintings symbolize a kind of impressionism with a kind of light; in the presence of a palette full of vibrant nuances, the effect and movement are captured by an unconventional effect. He manipulates the geometry and mathematical forms of Kemankaş to create surreal, but very close-in intruments for a moment. Creation of a reality, living characters, curved areas and toilet hapsed and unity and a world full of power and colors is evoking. Kemankaşı mobility, movement is living and art lovers to eye. Multicolor palettes are a surreal whole with Nihat Kemankaşlı’s work and that is reality. The subjects like Kemankaşlılar’s paintings and thoughts, personal relations and love are on the agenda and discussing. By the nature of the energy of the Kemankish people and the nature of the exploration of their work and activities, art found a place in society.
In Kemankaşı art, while translating his artistical movements into something that can be touched, it reflects a fluency to translate one at a time. Art lovers who see this, they can not control their desire to touch and feel.
Being manipulated with an intuitive and free spirit in his work, making fun shapes and stripes creates a dreamy and naive world. The objects used reflect classicism and show us an atmosphere of warmth and eccentricity.


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


Nihat Kemankaşlı, who boldly uses colors, has an ironic attitude that we frequently encounter in perspective and paintings, sculpted his paintings for the first time in the new exhibition “The Background” and added a new dimension to them. From 19.12.2014 to 12.01.2014, Sin meets the audience.

I expressed the creation process by saying “I concentrated on the importance of the place of the object and the assets in our lives”. “Work” and “object” give important clues in following the relationship. The close proximity to the actual dimensions of the figures and figures and objects leads to ‘reality’ by removing the indirect impressions between these two concepts, with the colors, the lack of light, and the sharpness in the lines. At this point it is possible to make a reading from Martin Heidegger. Heidegger, “The object concept is not an intensification of the object, but as directly as possible, it is the experiment of bringing the object closer to ourselves. As long as we carry what we perceive in our senses as objectivity, the object will not reach a position. For that reason he should be left in his stay. It must be adopted with its own endurance. “[I] The reality and sense of simplicity that we reach through objects and figures in Kemankaşlı’s paintings manifest themselves here. This interpretation of Heidegger tells us that the world in which the object exists must be expressed and perceived by the projection. The worlds and meanings convey that they should not influence the object and distract us from the reality at the point.

An important aspect of the work of art is that it establishes a world and produces the earth. These are the main characteristics of the artifact, the existence of the artifact. Every work opens a world in itself and makes it permanent. The work means to build a world. The artist has been able to create a new world with the compositions he created, the space over the objects, the audience, and the relationship he established with himself.

An audience who first encountered these pictures unwittingly “simply” introduces himself to the picture with three levels of examination that deal with the art form in terms of form, subject, and comparison, with the method of “iconographic and iconological art criticism” and form the basis of today’s art history method. as I mentioned, that this method, which is not very valid, can be synchronized with Kemankaşlı’s paintings, the simple, clear and direct process in the artist’s paintings. Thus, the viewer creates a new space between work and himself. When talking about communication; we used them frequently in the pictures we made in our childhood. For that reason, internalization is easier to accept as an extension of a memory. This situation, where personal experience is important, also points to the conservative side of the viewer. As a matter of fact, Kenan Evren said that he did not like the paintings of Picasso he had seen in Beyazsaray during his trip to the US in the Presidency, “he said,” I even make the tables. ”

When we come to the year 2014, contemporary art is talking about methods of reaching the audience filled with minds. These methods are generally applied to the artist in conscious manner by the galleries during the installation. However, the person lives in tabularasa at the first meeting with the pictures of Kemankaşlı. That’s why instead of methods, the viewer’s own experience is revealed. This is also very suitable for the contemporary ‘not being sub-text’. “This relationship is evil, which has argued that the work has spent all of its experience on a fancy paper. The work is only good when it is a diamond-finished surface that is scraped from experience, without any limitations of the inner glow. In the first case, there is redundancy, there is an assertion of immortality. Secondly, the work is productive because the richness is expressed without being told the whole experience which is sensed. The problem for the artist is gaining ‘survival’ that exceeds ‘can not do’. In short, the great artist in this climate is a great survivor. “[Ii]

Therefore, Nihat Kemankaşlı’s paintings and paintings, which have been ‘livable’ for the first time together with the new exhibition “The Background”, are not a new phenomenon, but the contemporary space and event fiction that has been created by paintings has moved into our living spaces, . This interdisciplinary approach has been linked to, nurtured and followed by the artist’s past work. The naive nature of figurative imagery, the positive perception of color, and the pictures that can be interpreted as ‘childish’ in the form of using perspectives are basically based on a strong technique and idea.

Senem Çağla BİLGİN / 2014


[i] Heidegger, M., The Origin of the Artifact. Ankara 2007.

[ii] Camus, A., Sisifos. Istanbul 2012.