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Nihat Kemankaşlı

Are you ready to explore the world from scratch?

I believe that it is necessary to start to explain the picture after going through an important clue to the artist who was a follower since the first solo exhibition he opened in the Black / White Art Gallery in 2000 before he wrote his new exhibition on Nihat Kemankaşlı. We must go out exploring the artist knowing that every element he uses on the surface from the categorization of painting language intensifies the “life crises”. Because it is more important that we understand the “what, how” than the traditional categories such as “abstract”, “abstraction” or “figure” and to solve the passwords of the artist in the same way “what, how?” Because in the name of the official, his residence is life. At this stage a question might come to mind: “Is the meaning sought in the picture of Nihat Kemankaşlı?” E. Michel Cioran argues that in his book “Existence of Existence” is a destructive and lethal knowledge of life. At the same time, the author said, “The fashion of meaning is about to pass. We can not look at the canvas for a long time now. “We should recall Kemankaşlı’s passion for universal art, knowing the importance of his pointing in his paintings. All the objects that life uses are a means to pass, to imagine, the dimension of thought that it wants to reach. Turgay Kantürk rightly speaks of the artist trying to create his “figurative understanding”. So it saves itself from the “decorative clamp”. An artist who is able to manifest his privilege and his ideas clearly through his macro objects reaches his originality by drawing his portraits.

The idea is framed and goes beyond stereotyped meanings. Liberate. Leave it free. Each object in the picture uses the ability to make decisions on its own! Objects can not be controlled! inevitable! Because all of them are in fact the area of ​​emancipation in the process of being trapped between birth-death, which seems to be routine in life of the painter. It is a reckoning on its own initiative without depending on any constraint, enforcement or behavior. For this reason, it pulls objects away from nature to solve them in whole, sometimes in pieces. It is possible to say that we think of each object in a macro level on the canvas and carry our nature and our life utensils to the field of transportation. Undoubtedly, all of these things are inevitably affected by the artist’s general problem and attitude. It focuses on life in a metropolis like Istanbul, heart beats and mind. In return, he frees the soul. The surface is now the maneuver area of ​​the “free” thinker. Seeking insistent trouble is solving life and transferring causality to the canvas. For this reason, it is obvious that every time we brush the brush and put it on the canvas, it is with us in our lives. For this reason, standing at the limits of classical narration around abstract, abstraction, or figurative headings, pushing the boundaries of the “meaning” helps us to look more realistic and right in its picture.

As a matter of fact, the artist emphasizes that the language of painting, which we can call abstraction, is “going through a more consistent path,” based on “orientation” and “influence”. We can determine the direction of his path by identifying the surviving objects, which are more than 12 years old, and adding them back to life and giving them different meanings. Any object selected from life based on color expression can be easily seen on the surface. What can we say in terms of “readability” for the sake of appearance? Or, in other words, can we say that the object in the picture carries symbolic meanings outside of what appears? Such questions make the statement “objects easily identifiable” that we perceive in the artist’s picture and what we immediately perceive is a little bit complicated. Let’s remember Kemankaşlı’s words “to create good and new compositions using all my creatures, objects” in order to get rid of this confusion!

After all, as I said at the beginning of the artist’s picture, whether it is a visible figure or a nonfigurative object, symbols are only tools. In a more short word, we jump out of the living room, hanging clothes, chaise lounges, chaise lounges, closets or bathtubs / small pools, hanging in leaves, leaves or jewels. All these objects, which are scattered in every moment of life like ordinary, differ on the surfaces of Kemankaşlı. It must be your life to be able to reinvent itself and add itself! You yourself too! You are worried about how much more you are getting along. The artist’s paintings are simple, comfortable and peaceful with geometric and striking colors in a life of doubtful, fearful and even inconsiderate strangeness of ordinary events strangling him.

Nihat Kemankaşlı’s smile on the picture in recent years and the leaked figures are obvious today.they are not satisfied. The front planer is settled with half naked bodies on the entire surface of the picture. Monumental constructions of female and male figures in the standing singular or duo groups. All figures are calm, worried and silent. They are frozen in an intermediate zone of their own, jumping out of the routine confusion of everyday life with unfounded body structures. In modern life, Adam and Eve will soon leave the escaping mist of the forbidden fruit, and among the trees in the background, the punishing hand will go to another fairy-tale scene by showing them the gates of the “real” world. At this stage, life will be shaped from the beginning into a lifestyle, with special privileges proposed by the modern world. The water beneath your feet reflects back to them the shadows of the reality that has come out of your bourgeois lives. The colors of the artist are perfect! What about life? Lives? Lives? Have you managed to be perfect, just as in the red and green colors of such pure and dull? As long as the questions continue to find answers, I must say that Nihat Kemankaşlı will not give up his life, his determination to self-discipline. It is clear that in painful life, one day a figurine, I mean, is it a new “style”? As I mentioned at the beginning of the article, it is necessary to move Kemankaşlı’s vision of the image of the painting from today to today, beyond the traditional categorizing concept in a certain style. Because of his university years, there has been a certain attitude and stance towards styling and stylism. Hacettepe University, Faculty of Fine Arts, starting from the student years began to face the existing frames with courage. The artist has always appreciated the word “stopping unscathed!” It is only then clear that Hayatat senses the universal pursuit of hunting, starting from the moment that the selected objects pass to the canvas for re-flow to life, until reaching the final paint point. It is the deep interest of all universal arts and artists / the re-transmission of their own words into the life of unrequited lovemaking that they have done with objects, paintings and colors. Absolutely, there will be some angry sides of every love. Obvious: An attitude that responds to the dictatorial philosophy of the search for style in Turkish Painting. One of the meanings of the life that we can find in these new paintings in the Black / White Art Gallery is that the artist crossed us with his own philosophy of life. The viewer who knows how to look at this intersection will be separated from his or her own surface and from every surface he stands in front of the picture by putting different words first in his palms and then in his pocket.

Dilek Şener (October 2011)